5 Plain Questions

I am announcing that 5 Plain Questions is now on Patreon. I have spent seven seasons interviewing Native American and Indigenous artists, musicians, writers, and culture-bearers. I make the show on my own, and now you can help keep it going by joining our Patreon. For $3 a month you get a monthly note from me about what is coming up. For $7 you can receive every episode a week early and hear them ad free. For $15 you can see the video first and send your own questions for an upcoming guest. Every episode has five Plane Questions and you get to ask the sixth. Visit patreon.com/5plainquestions to join, and thank you for listening.Links referenced in this episode:patreon.com/5plainquestionsCompanies mentioned in this episode:Patreon

Pamela J. Peters reclaims Native identity through her art. I invited Ms. Peters, a Navajo multimedia artist and photographer, to recount her reclamation of cultural presence and to articulate how her imagery and multimedia projects restitute narratives long effaced by cinematic fantasy and public ignorance. We explore her biographical roots—her clan introductions, decades spent in Los Angeles, and the formative influence of elders and historical dislocation—together with her seminal project Legacy of Exile Indians that interrogates the 1956 Indian relocation program and the urban trajectories it produced. I foreground how storytelling functions as a vital cultural modality for Native communities, both as testimony and as a mechanism of intergenerational reconnection, and how Ms. Peters’s work deliberately resists reductive iconography to present contemporary Indigenous personhood. We also examine the evolving focus of her practice as she returns to the reservation, addressing ecological concerns such as water scarcity, the legacies of resource extraction, and the stewardship of homeland and nonhuman relatives. For those who wish to engage further, I reference her photographic corpus and ongoing projects available through her website and social channels, where she continues to document and amplify the complexities of Native American life in urban and rural contexts.Takeaways:I use photography and multimedia to reclaim Native identity and correct Hollywood myths.I documented the 1956 Indian relocation program and its effects on urban Native lives.I show modern Native people in cities without relying on fantasy costumes or relic images.I encourage young people to leave social media, learn from elders, and learn about nature.I am shifting my work to focus on water, land, and resource issues on the reservation.We need to reclaim our tribal names and not be generalized only as indigenous or native.I ask artists to explain their use of indigenous imagery and to show tribal specificity.Links referenced in this episode:https://pamelajpeters.com/elevenwarriorarts.comCompanies mentioned in this episode:University of Southern California (USC)UC Santa Cruz (University of California, Santa Cruz)University of ArizonaChange LabsYouTubeInstagramThreads (Instagram Threads)TikTokBlueskyFacebookLinkedInSubstackEleven Warrior Arts (11warriorarts.com)Art of the RuralSupport 5 Plain Questions on Patreon and hear new episodes a week early, ad-free: https://www.patreon.com/5PlainQuestions

I speak with Alison Bremner, a Tlingit artist who blends traditional formline art with contemporary themes. I ask her about her background and mentors, and she explains how ceremony and community shaped her path. She describes learning from the Boxleys and building a career through shows, grants, and mentorship. She discusses her work in museum collections and a collaboration with Starbucks on cup designs. We also talk about her new project putting art on nails and her advice to young artists to work hard and start early. I encountered Alison Bremner as a Tlingit artist whose aesthetic practice emerges from a profound confluence of lived cultural inheritance and disciplined apprenticeship. I recall her articulation of a pivotal moment at Celebration in Juneau when the animating force of dance, language and carved transformation masks crystallized the trajectory of her work; she described purchasing a sixteen‑inch canvas immediately thereafter and commencing her first formline painting. I emphasize her lineage of mentorship under David Albert Boxley and David Robert Boxley and the manner in which those relationships instantiate a model of reciprocity: artists who sustain commercial careers while remaining integrally tethered to community obligations and ceremonial responsibilities. Throughout our dialogue she delineated two discrete but interdependent currents in her oeuvre—the public, commercial practice that circulates on social platforms and in galleries, and the private, traditional corpus that is retained for ceremonial use and community replenishment—thereby rendering visible the ethical architecture that governs her choices as a culture bearer and professional artist.Takeaways:I grew up Tlingit in Yakutat and my coming-of-age ceremony changed my life and art direction.I apprenticed with David Albert Boxley and David Robert Boxley for four years which taught me traditional practice and community responsibility.We balance traditional formline rules with contemporary subjects by composing shapes in traditional ways and telling modern stories.I built my career by applying to local shows, small grants, open calls, and learning from mentors and peers.I advise young artists to use the pre-family years to work hard and to dedicate time to their craft.I collaborated with Starbucks after initial contact through Instagram and careful meetings that led to a cup project released after a year.I trained in nail technology to make press-on nails so people can wear our art daily and connect with collectors often.We emphasize that established artists should keep doors open and that mentees must embrace discomfort and learn with humility.Companies mentioned in this episode:Burke Museum of Natural History and CultureBritish MuseumMusée des beaux-arts de MontréalHood Museum of Art (Dartmouth College)Sealaska Heritage InstituteJuneau Arts & Humanities CouncilGrunt GalleryStarbucksStarbucks Art ProgramInstagramTikTokFacebookThreadsBlueskyArt of the RuralSubstackElevenWarriorArtsSupport 5 Plain Questions on Patreon and hear new episodes a week early, ad-free: https://www.patreon.com/5PlainQuestions

I will resume the podcast next week and release new episodes weekly for the remainder of the season. I had paused production while I established the Indigenous Art House and set up the Sovereign Studio gallery in downtown Fargo. We also launched the Northern Plains Indigenous Film Festival, which required substantial effort and contributed to the hiatus. I have recorded new interviews and assembled a strong roster of guests, though a technical failure cost us one recording. I ask that you support Native and Indigenous artists by visiting the gallery or contributing online. I am ready to continue the series and I will see you next time.Companies mentioned in this episode:Indigenous Art HouseSovereign StudioSolo's EateryNorthern Plains Indigenous Film FestivalFargo TheaterCenter for Native FuturesSupport 5 Plain Questions on Patreon and hear new episodes a week early, ad-free: https://www.patreon.com/5PlainQuestions

Holly Doll, a distinguished artist and citizen of the Standing Rock Sioux Tribe, embodies the intersection of cultural heritage and contemporary artistic expression. Specializing in Lakota beadwork and quillwork, Holly's artistic journey commenced at the tender age of two under the tutelage of her mother, instilling in her a deep respect for cultural values that inform her work today. As the Program Director for Ignite Rural and a Program Manager at Arts Midwest, she engages in pivotal efforts to support artists and communities, particularly through collaboration with the Waterers, a collective dedicated to disrupting conventional philanthropy. In this episode, we delve into Holly's multifaceted career, exploring her influences, the role of grief in shaping her path, and the importance of self-care amidst community engagement. We invite you to join us as we uncover the profound insights and experiences that Holly shares, illuminating the vibrant connection between art, culture, and community support.Takeaways:Holly Doll's artistic journey began at a remarkably young age, influenced profoundly by her mother, who instilled in her a deep appreciation for Lakota beadwork and quillwork.As a citizen of the Standing Rock Sioux Tribe, Holly Doll embodies the intersection of traditional artistry and contemporary expression, enriching her community through cultural work.Her professional endeavors span over a decade in arts and culture nonprofits, showcasing her commitment to fostering local power and supporting artists within her community.Holly's experiences illustrate the importance of community connections; she emphasizes the collective nature of grief and healing within Indigenous cultures.Through her work with the Waterers, Holly engages in radical philanthropy, challenging conventional approaches to support and empowering marginalized voices.Holly encourages the younger generation to embrace their fears, to follow their passions, and to prioritize self-care as they navigate their unique journeys.