Connection, Criticality, and the Future of Indigenous Creativity
The Heard Museum recently hosted a panel featuring artists Bob Haozous (Warm Springs Chiricahua Apache), Roxanne Swentzell (Tewa/Santa Clara Pueblo), and Joseph Sánchez (White Mountain Apache/Taos Pueblo/Chicano), moderated by Dr. Jami Powell (Osage). The conversation explored identity, colonization, and the limitations of the term “art,” pushing for a more authentic, inclusive future in Indigenous creativity.
Bob Haozous initiates the thought-provoking discussion with a drawing inspired by Samson and Delilah in the Bible, symbolizing the tension between Westernization and Indigenous identity. He emphasizes our shared humanity and the need to rebuild a relationship with nature, exemplifying the idea of “tribes” as a reflection of the natural world. Roxanne Swentzell echoed this concept, reinforcing unity and her work in environmental restoration through the Indigenous Permaculture Institute as a path to reconnecting with the land and our human roots.
Left: Bob Haozous, Untitled, n.d. Inspired by Samson and Delilah (MEV, Judges 13-16).
Romanticism and Inclusivity in Native Art
Joseph Sánchez questions the romanticized view of Native art and critiques the Western art world’s tendency to elevate a few artists while sidelining many others. He called for inclusivity and the dismantling of categories that limit Native artists, encouraging collectors and institutions to support diverse, contemporary Indigenous expressions.
Right: Bob Haozous, Indian Bank (detail), 1971. Bronze. Collection of the artist.
The Western Construct of Art and Indigenous Expression
A recurring theme throughout the conversation was the assessment of the Western construct of “art” as a restrictive label applied to pre-existing forms of creative expression. Bob Haozous introduced the concept of “vocation, vocation, vocation,” a play on “location,” to critique an education system that prioritizes monetary gain over our relationship with the living earth and tribal identity. He asserts that true understanding originates from the heart, bypassing colonization and imposed education to rediscover our Indigenous essence.
Left: Bob Haozous, Vocation (detail), 2023. Mixed media. Collection of the artist.
Steps Toward a Shared Future
This discussion underscores the imperative need to rethink how we frame Indigenous art — not as a static category, but as a living expression of identity, resilience, and our connection to the earth. It presents a powerful call to honor honest storytelling and support Indigenous creativity without imposed constraints.
Below: Bob Haozous, Lonely Man, 1985. Marble. Collection of Dr. Richard and Pat Panicco.
