James Luna Biography

1950 Two Multimedia Installations, Center for Contemporary Born: Orange, California Arts, Santa Fe Enrolled Luiseño Tribe Indian Tales, Centro Cultural de la Raza, San Diego; La Jolla Reservation, California The Center for Contemporary Arts, Santa Fe; Banff Centre, Banff, Alberta, Canada 2018 Indian Tales: Stories of Native People from the Rez Died: New Orleans, Louisiana and Cities, National Museum of Natural History, Smithsonian Institution, Washington, D.C. Sometimes It’s Not So Beautiful to Be an Indian, EDUCATION Intermedia Arts and Two Rivers Gallery, Minneapolis 1976 The Red Album, Randolph Street Gallery, Chicago University of California Irvine

1993 SELECTED SOLO EXHIBITIONS Relocation Stories, Capp Street Project, San Francisco 1981 New Basket Designs, Randolph Street Gallery, Chicago Rolando Castellón Gallery, San Francisco The History of the Luiseño People: La Jolla Reservation, Christmas 1990, Memorial Art Gallery of the 1982 University of Rochester, New York James Luna, San Jose State University, California Indian Tales, Santa Barbara Contemporary Arts Forum, California; Humboldt State University, Arcata, 1983 California San Diego State University James Luna, University of Colorado at Denver; University of Oklahoma, Norman 1987 The Shameman, Art Awareness, Lexington, New York The Artifact Piece, Sushi Gallery, San Diego 1994 1989 The Sacred Colors, Real Art Ways, Hartford, Two Worlds, International Arts Relations Gallery, New Connecticut York; Centro Cultural de la Raza, San Diego Old Designs/New Messages, Pomona College Museum of Art, Montgomery Art Center, Claremont, California 1991 The Shameman: My Way, Imagining Indians: Native On the Spiritual, Isaac Delgado Fine Arts Gallery, American Film and Video Festival, Scottsdale Delgado Community College, New Orleans Center for the Arts, Arizona; Detroit Institute of Arts, Michigan; Asheville Art Museum, North Carolina 1992 James Luna: My Way, Cooper-Hewitt, National Design James Luna: Actions and Reactions, An Eleven Year Museum, Smithsonian Institution, New York Survey of Installation/Performance Work 1981–1992, My Way, SAW Gallery, Ottawa, Ontario, Canada Mary Porter Sesnon Art Gallery, University of The Web of Life (with Palomar Choir and Chamber California, Santa Cruz Singers), Palomar College, San Marcos, California Places for People to Meet, Art Awareness, Lexington, New York 1995 The Sacred Colors, Galeria Posada, Sacramento, Tribal Identity: An Installation by James Luna, Hood California Museum of Art, Dartmouth College, Hanover, New James Luna, Atlantic Center for the Arts, New Smyrna Hampshire Beach, Florida The Shameman, Walker’s Point Center for the Arts, Futuristic Native Outfits for Night Raids (and Other Milwaukee, Wisconsin; New Mexico State University, Paraphernalia), 911 Media Arts, Seattle, Washington Las Cruces Petroglyphs in Motion [performance], SITE Santa Fe, New Mexico 1996 Tribal Identity, Schneider Museum of Art, Southern 2001 Oregon University, Ashland James Luna, Porter Troupe Gallery, San Diego, The Dream Hat Ritual, Santa Monica Museum of Art, California California Take a Picture with a Real Indian and Creation and In My Dreams, Getty Center, Los Angeles, California; Destruction of an Indian ATLATL Conference, Tulsa, Oklahoma; The Swiss Reservation, Salina Art Center, Salina, Kansas Institute, New York; Siena Heights College, Adrian, American Indian Studies, Washington State University, Michigan Pullman American Indian Studies II, The Heard Museum, 1997 Phoenix, Arizona; University of California San Diego; The Dream Hat Ritual, Sacred Circle Gallery, Seattle, University of California Santa Cruz Washington The Deadfall Revue, Institute of American Indian Arts Our Indians, Arizona State University, Tempe Museum, Santa Fe, New Two Installations, Saddleback College, Mission Viejo, Mexico California Subterranean Post Indian Blues, Idyllwild Arts, Idyllwild, California 1998 Take a Picture with a Real Indian, Cornell University, The Spirits of Virtue and Evil Await My Ascension, Ithaca, New York University of Wyoming, Laramie; The Fabric Workshop and Museum, Philadelphia 2002 Our Indians, Florida State University, Tallahassee Petroglyphs in Motion [installation], de Saisset Collage, Urban Institute for Contemporary Arts, Grand Museum, Santa Clara University, California Rapids, Michigan 2003 1999 The Sun and Moon Blues, Banff Centre, Banff, Alberta, The Ballad of the Shameman and Betty Day Bird, Canada Tozzer Library, Harvard University, Cambridge, Artists on the Cutting Edge: Cross Fertilizations Series, Massachusetts Museum of Contemporary American Indian Studies, Georgia State University, Art San Diego Atlanta; Living Arts of Tulsa, Oklahoma Take a Picture with a Real Indian/The Sun and Moon The Last Wild California Indian, Cleveland Public Blues, University of Essex, Colchester, United Theater, Ohio Kingdom The Last Wild California Indian and Collage, Hartwick College, Oneonta, New York 2005 James Luna: Emendatio, Venice Biennale, June 12– 2000 November 6 Outfits & Other Paraphernalia for Night Raids, California State University, San Marcos 2014 The Ballad of the Shameman and Betty Day Bird, I CON, Mesa College Art Gallery, San Diego, March 17– Mabee-Gerrer Museum of Art, Shawnee, Oklahoma April 16, 2014 The Chapel of the Sacred Colors, Gordon Snelgrove Gallery, University of Saskatchewan, Saskatoon, 2020 Canada James Luna: Take a Picture with a Real Indian, Garth American Indian Studies, National Museum of Wildlife Greenan Gallery, New York, September 10– Art, Jackson Hole, Wyoming; 7A*11d International December 19 Festival of Performance Art, Toronto, Ontario, Canada SELECTED GROUP EXHIBITIONS 1991 Facing the Finish: Some Recent California Art, San 1975 Francisco Museum of Modern Art, California Carl N. Gorman Museum, University of California, Davis Encuentro: Invasion of the Americas and the Making of Native American Art Exhibit for the Governor of the Mestizo, Social and Public Art Resource Center California, California State Capitol Building, Gallery, Venice, California Sacramento SITEseeing: Travel and Tourism in Contemporary Art, Native American Art, American Indian Studies Whitney Museum of American Art, New York Department, San Diego State University, California Shared Visions: Native American Painters and Sculptors in the Twentieth Century, Heard Museum, Phoenix, 1981 Arizona; Eiteljorg Museum of American Indians and Carl N. Gorman Museum, University of California, Davis Western Art, Indianapolis, Indiana Disputed Identities, California Museum of Photography, 1986 University of California, Riverside; Presentation Made in Aztlan, Centro Cultural de la Raza, San Diego, House Gallery, North Vancouver, British Columbia California Selected Works 1990–91, Palomar College, San Marcos, Hippodrome Gallery, Long Beach, California California He’s Resting Now, Centro Cultural de la Raza, San Contemporary American Indian Art, San Bernardino Diego, California County Museum, Redlands, California Indigenous America: Honoring Our Heritage, University of 1987 California, San Diego Arts and Culture Show, Public Arts Advisory Council, Counter-Colonialismo, Centro Cultural de la Raza, San San Diego Diego, California En Memoria, Centro Cultural de la Raza, San Diego San Francisco Arts Commission Public Art Program, Street Sets, Sushi Gallery, San Diego Yerba Buena Center for the Arts, California Submuloc Show/Columbus Wohs, ATLATL Traveling 1988 Exhibition, Phoenix, Arizona Up Tiempo!, El Museo del Barrio/Creative Time, New York 1992 California Mission Daze, Installation Gallery, San Diego, Sites of Recollection: Four Altars and a Rap Opera, California Williams College Museum of Art, Williamstown, Native American Art in the ‘80s, University of California, Massachusetts; Museum of the National Center of Riverside Afro-American Artists, Boston, Massachusetts Body Takes, Toronto Photographers Workshop, Ontario, 1990 Canada The Decade Show: Frameworks of Identity in the Land, Spirit, Power: First Nations at the National Gallery 1980s, The Studio Museum in Harlem, New of Canada, Ottawa, Ontario York, in collaboration with the New Museum As Public As Race, Walter Phillips Gallery, Banff Centre, of Contemporary Art and the Museum of Banff, Alberta, Canada Contemporary Hispanic Art The Alcove Show, Museum of Fine Arts, Santa Fe, New Art History/AA Meeting, Atlanta College of Art, Georgia Mexico Disputed Identities, San Francisco Camerawork, Kísh Tétayawet Wampkísh (Dream House) with Lewis California deSoto, Mesa College Art Gallery, San Diego, California Mission Daze, California Indian Conference, California Riverside Shared Visions: Native American Painters and Sculptors The Tell Tale Heart, Washington Project for the Arts, in the Twentieth Century, Portland Art Museum, Washington, D.C. Oregon; Gilcrease Museum, Tulsa, Oklahoma 2 Worlds, American Indian Community House Gallery, The People Themselves: Native American Photography, New York Los Angeles Photography Center, California Cultural Diversity in American Theater, University of California, San Diego Message Carriers: Contemporary Photography by Re: public/Listening to San Diego, Museum of Native American Artists, Photographic Resource Photographic Arts, San Diego, California Center, Boston University, Massachusetts Native America: Reflecting Contemporary Realities, 1997 Craft and Folk Art Museum, Los Angeles, California Scene of the Crime, Armand Hammer Museum of Facing the Finish: Some Recent California Art, Art Art and Culture Center, University of California Los Center College of Design, Pasadena, California Angeles, California Counterweight: Alienation, Assimilation, Resistance, Identity Crisis: Self-Portraiture at the End of the Century, Santa Barbara Contemporary Arts Forum, California Milwaukee Art Museum, Wisconsin Changing Spaces, University of Colorado at Boulder 1993 In My Dreams, Western Front, Vancouver, British The Sacred Colors, University of Arizona, Tucson Columbia, Canada 1993 Biennial Exhibition, Whitney Museum of American Collage: Thoughts, Dreams, and Hallucinations, Arizona Art, New York State University, Tempe; Institute of American Sites of Recollection: Four Funerals and a Rap Opera, Indian Arts Museum, Santa Fe, New Mexico; TRIBE, Memorial Art Gallery of the University of Rochester, Saskatoon, Saskatchewan, Canada New York; Dayton Art Institute, Museum of Contemporary Art at Wright State University, Dayton, 1998 Ohio Sex and Shamanism: The Seduction of Stereotypes San Diego Artists from the Collection of the Museum and Misrepresentations of Native Peoples, Carl N. of Contemporary Art, San Diego, Boehm Gallery, Gorman Museum, University of California, Davis Palomar College, San Marcos, California Dimensions of Native America: The Contact Zone, This Is Not a Multicultural Show, St. Lawrence Museum of Fine Arts, Florida State University, University, Canton, New York Tallahassee Shared Experiences/Personal Interpretations: Seven Side Streets Projects, Santa Monica, California Native American Artists, Sonoma State University Art Gallery, Rohnert Park, California 2000 The Shameman Meets El Mexican’t at the Smithsonian Made in California: Art, Image, and Identity, 1900–2000, Hotel and Country Club (with Guillermo Gómez- Los Angeles County Museum of Art Peña), National Museum of Natural History, The Chapel of the Sacred Colors, LewAllen Smithsonian Institution, Washington, D.C. Contemporary, Santa Fe, New Mexico

1994 2001 42nd Street Project, Creative Time, New York The Road to Aztlan: Art from a Mythic Homeland, Los The Shameman Meets El Mexican’t and the CyberVato Angeles County Museum of Art in Chicago in Search of Their Lost Identities (with Guillermo Gómez-Peña and Roberto Sifuentes), 2002 Mexican Fine Arts Center Museum, Chicago Staging the Indian: The Politics of Representation, Tang Teaching Museum and Art Gallery, Skidmore College, 1995 Saratoga Springs, New York The Shameman and El Mexican’t Meet the CyberVato at Alter-Native Dialogues, Nippon International the Ethno-CyberPunk Trading Post & Curio Shop on Performance Art Festival, Tokyo, Japan the Electronic Frontier (with Guillermo Gómez-Peña and Roberto Sifuentes), DiverseWorks Art Space, 2004 Houston, Texas Native Views: Influences of Modern Culture, Artrain USA touring exhibition 1996 Continuity & Contradiction: A New Look at the 2009 Permanent Collection, Museum of Contemporary Art Into the Sunset: Photography’s Image of the American San Diego, California West, Museum of Modern Art, New York, March 29– June 8 2019–2020 When I Remember I See Red, Autry Museum of the American West, Los Angeles, September 25, 2020– January 3, 2021

2021 Cousins and Kin, San Francisco Cinematheque, San Francisco, April 16–May 15

PUBLIC COLLECTIONS Museum of Contemporary Native Arts, Institute of American Indian Arts, Santa Fe Museum of Contemporary Art, San Diego National Museum of the American Indian, Smithsonian Institution, Washington, D.C. Selected Bibliography

BOOKS/CATALOGUES James Luna: Actions and Reactions, An Eleven Year Barron, Stephanie, Sheri Bernstein, and Ilene Susan Survey of Installation/Performance Work, 1981–1992. Fort. Made in California: Art, Image, and Identity, Santa Cruz: Mary Porter Sesnon Art Gallery, 1900–2000. Los Angeles: Los Angeles County University of California, Santa Cruz, 1992. Museum of Art, 2000. Johnson, Lorraine, ed. Body Takes: Deborah Bright, Burnham, Frye and Steven Durland, eds. The Citizen James Luna, Chuck Samuels, Jin-me Yoon. Toronto: Artist: 20 Years of Art in the Public Arena: An Toronto Photographers Workshop: 1992. Anthonology from High Performance Magazine, Jones, Amelia. Body Art/Performing the Subject. 1978–1998. Gardiner, NY: Critical Press, 1998. Minneapolis: University of Minnesota Press, 1998. Buskirk, Martha. The Contingent Object of Kiendl, Anthony, ed. Obsession, Compulsion, Collection: Contemporary Art. Cambridge: MIT Press, 2003. On Objects, Display Culture, and Interpretation. Banff: Counterweight: Alienation, Assimilation, Resistance. Banff Centre Press: 2004. Santa Barbara: Santa Barbara Contemporary Arts Lacy, Suzanne, ed. Mapping the Terrain: New Genre Forum, 1992. Public Art. Seattle: Bay Press, 1995. Cardinal-Schubert, Joane, Kerri Sakamoto, and Larissa LaPena, Frank, Mark Dean Johnson, and Kristina Lai. As Public and Race: Margo Kane, James Luna, Perea Gilmore, eds. When I Remember I See Red. Paul Wong. Banff: Walter Phillips Gallery, Banff Sacramento: Crocker Art Museum, 2019. Centre, 1993. Lippard, Lucy. Mixed Blessings: New Art in a Multicultural Castillo, Edward D. and Michael Schwager. Shared America. New York: Pantheon Books, 1990. Experiences/Personal Interpretations: Seven Native Lippard, Lucy. On the Beaten Track: Tourism, Art, and American Artists. Rohnert Park: University Art Place. New York: New Pres, 1999. Gallery, Sonoma State University, 1994. Lippard, Lucy. The Lure of the Local: Senses of Place in a Davies, Hugh Marlais and Ronald J. Onorato, ed. Multicentered Society. New York: New Press, 1997. Blurring the Boundaries: Installation Art, 1969–1996. Mandle, Julia Barnes and Deborah Menaker Rothschild. San Diego: Museum of Contemporary Art, 1997. Sites of Recollection: Four Altars and a Rap Opera. Dimensions of Native America: The Contact Zone. Williamstown: Williams College Museum of Art, 1992. Tallahassee: Florida State University, Museum of Fine Nemiroff, Diana, Robert Houle, and Charlotte Townsend- Arts, School of Visual Arts and Dance, 1998. Gault. Land, Spirit, Power: First Nations at the National Dubin, Margaret. Native America Collected: The Culture Gallery of Canada. Ottawa: National Gallery of of an Art World. Albuquerque: Univresity of New Canada, 1992. Mexico Press, 2001. Red River Crossings: Contemporary Native American Dubin, Margaret. The Dirt is Red Here: Art and Poetry Artists Respond to Peter Rindisbacher (1806–1834). from Native California. Berkeley: Heyday Boooks, New York: The Swiss Institute, 1996. 2002. Roalf, Peggy, ed. Strong Hearts: Native American Visions Facing the Finish: Some Recent California Art. Los and Voices. New York: Aperture, 1995. Angeles: San Francsico Museum of Modern Art and Rushing III, W. Jackson. Native American Art in the Fellows of Contemporary Art, 1991. Twentieth Century: Makers, Meanings, Histories. Fields, Virginia M. The Road to Aztlan: Art from a London: Routledge, 1999. Mythic Homeland. Los Angeles: Los Angeles County Sarris, Greg, ed. The Sound of Rattles and Clappers: A Museum of Art, 2001. Collection of New California Indian Writings. Tucson: Glancy, Diane and Mark Nowak, eds. Visit Teepee Town: University of Arizon Paress, 1994. New Writings After the Detours. Minneapolis: Coffee Sobel, Dean. Identity Crisis: Self-Portraiture at the End House Press, 1999. of the Century. Milwaukee: Milwaukee Art Museum, Gómez-Peña, Guillermo. Dangerous Border Crossers: 1997. The Artist Talks Back. London: Routledge, 2000. Sweet, Jill D and Ian Berry. Staging the Indian: The Politics of Representation. Saratoga Springs: Tang Harper, Glenn. “The Hanged Sparrow: Post Utopian Teaching Museum and Art Gallery at Skidmore Art.” Art Papers 20, no. 1 (January–February 1996): College, 2001. 30–33. The Tell Tale Heart: Ken Little, James Luna, Judy Hawley, Elizabeth S. “James Luna nd the Paradoxically Southerland, Pat Ward Williams. Washington, D.C.: Present Vanishing Indian.” Contemporaneity 5, no. 1 Washington Project for the Arts, 1990. (2016): 6–26. Tribal Identity: An Installation by James Luna. Hanover: Jackinsky-Sethi, Nadia. “Joel Isaak: Dena’ina Dartmouth College, 1995. Interdisciplinary Artist.” First American Art Magazine, Two Worlds: James Luna. New York: INTAR Gallery, no. 29 (2021): 63–64. 1989. LeBeau, Eleanor. “James Luna.” Art Papers 32, no. 4 Warr, Tracey and Amelia Jones, eds. The Artist’s Body. (2008): 69. London: Phaidon Press Limited, 2000. Luna, James. “Allow Me to Introduce Myself: The Performance Art of James Luna.” Canadian Theatre PERIODICALS Review 68 (Fall 1991): 46–47. Blocker, Jane. “Failures of Self-Seeing: James Luna Luna, James. “I’ve Always Wanted to be an American Remembers Dino.” PAJ: A Journal of Performance Indian.” Aperture 139 (Spring 1995): 38–41. and Art 67 (2001): 18–32. ———. “I’ve Always Wanted to be an American Indian.” Blondeau, Lori and Bradlee Larocque. “Surreal, Post- Art Journal 51, no. 3 (1992): 18–27. Indian Subterranean Blues.” Mix: The Magazine of Marks, Laura U. “James Luna, Santa Monica Museum of Artist-Run Culture 23, no. 3 (Winter 1992): 46–53. Art.” Artforum 35 (October 1996): 123. “body Takes,” Toronto Globe and Mail Metro Edition, Martin, Linda R. “James Luna.” Native Peoples 10, no. 3 June 26, 1992: D8. (Spring 1997): 96. Boyce, Roger. “James Luna ‘Makes Do’ at the ICA Miller, Betsy. “Multiple Personality: James Luna at UC Theater.” Art New England 20, no. 4 (June/July 1999): Santa Cruz.” Artweek 23, no. 30 (1992): 20. 14. Morris, Gay. “Pro Arts Gallery, Oakland, California.” Art Breslauer, Jan. “Performance Artist Luna Takes Another in America 82 (July 1994): 102–103. Road.” Los Angeles Times, December 11, 1991: F4, Naming, Victoria. “Performance Art: James Luna.” F12. MAVIN, no. 5 (2001): 59. Champman, Steven, Susan Jeffrey, and Ruth Denny. Ollman, Leah. “Confronting All the Demons; James “Art of the People.” Art Paper 12, no. 3 (November Luna Deals Candidly with the Alcoholism, Violence 1992): 9–11. and Bad Health Plaguing Many Native Americans.” Chattopadhyay, Collette. “James Luna.” Sculpture 15, Los Angeles Times, June 16, 1996 no. 9 (November 1996): 58–59. Reed, Victoria. “Traversing Borders.” Artweek 22 (April Dubin, Margaret. “High-Tech Peace Pipe: An Interview 11, 1991): 10. with James Luna.” News from Native California 14, no. Robertson, Sheila. “Artist Lampoons Cultural 3 (Spring 2001): 35–36. Stereotype.” Saskatoon Star Phoenix, October 18, Durland, Steven. “Call Me in ’93: An Interview with 1997: B362. James Luna.” High Performance 14, np. 4 (Winter Rushing, W. Jackson and Kay WalkingStick, eds. 1991): 34–39. “Special Issue: Recent Native American Art.” Art Fernandez-Sacco, Ellen. “Check Your Baggage: Journal 51, no. 3 (Fall 1992): 6–80. Resisting Whiteness in Art History.” Art Journal Solnit, Rebecca. “The Postmodern Old West, or the (Winter 2001): 59–61. Procession of Cowboys and Indians, Part II: Indians, Fisher, Jean. “In Search of the Inauthentic: Disturbing or Breaking Out of the Picture.” Art Issues 45 Signs in Contemporary Native American Art.” Art (November–December 1996): 26–31. Journal 51, no. 3 (Fall 1992): 44–50. Supahan, Nisha. “Absurd Magic.” News from Native Geer, Suvan. “James Luna at the Santa Monica California 9, no. 3 (Spring 1996): 42. Museum of Art.” Artweek 27 (August 1996): 21. Tama, Jose Torres. “Healing with Humor: New American Harlan, Theresa, Lee Marmon, and Maggie Steber. Perspectives from James Luna and Dan Kwong.” Art “Creating a Visual History: A Question of Ownership.” Papers 35, no. 5 (September–October 2001): 17. Aperture 139 (Spring 1995): 20–33. “The Road to Aztlan: Art from a Mythic Homeland.” MAVIN 5 (2001). Taylor, Kate. “Clever Barbs that Hit the Mark.” Toronto Globe, June 26, 1992. Yau, John, “How James Luna Exposed the Mechanisms of American Racism”, Hyperallergic, October 10, 2020.