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Cary IV, 2024
Buckskin, synthetic sinew, acrylic, glass beads, brass sequins, copper vessel, and copper ladle
Collection of the Baltimore Museum of Art -
Cary IV, 2024 (detail)
Buckskin, synthetic sinew, acrylic, glass beads, brass sequins, copper vessel, and copper ladle
Collection of the Baltimore Museum of Art -
Visiting, 2024
Acrylic, glass beads, thread, and synthetic sinew on aluminum panel, quartz base
Collection of Denver Art Museum -
Visiting, 2024 (detail)
Acrylic, glass beads, thread, and synthetic sinew on aluminum panel, quartz base
Collection of Denver Art Museum -
Visiting, 2024 (detail)
Acrylic, glass beads, thread, and synthetic sinew on aluminum panel, quartz base
Collection of Denver Art Museum -
Carry III, 2020
Buckskin, glass beads, thread, brass sequins, synthetic sinew, copper vessel, copper ladle
Collection of the Kemper Museum of Contemporary Art -
Carry III, 2020 (detail)
Buckskin, glass beads, thread, brass sequins, synthetic sinew, copper vessel, copper ladle
Collection of the Kemper Museum of Contemporary Art -
Carry, 2019
Buckskin, synthetic sinew, glass beads, brass sequins, canvas, acrylic, dyed feathers
Collection of Eiteljorg Museum -
Carry, 2019 (detail)
Buckskin, synthetic sinew, glass beads, brass sequins, canvas, acrylic, dyed feathers
Collection of Eiteljorg Museum
Cary IV, 2024
Buckskin, synthetic sinew, acrylic, glass beads, brass sequins, copper vessel, and copper ladle
Collection of the Baltimore Museum of Art
White Hawk's sculptures incorporate materials with deep ties to Native arts—glass beads, porcupine quills, buckskin—into configurations that refute conventional divisions between art and craft. These works argue against the arbitrary separation of fine art from Indigenous making practices, forwarding the aesthetic and conceptual complexity of Native techniques. Unlike Euro-centric sculptural traditions that emphasize individual authorship, White Hawk's works emerge through collaboration with family members, friends, and community partners, reflecting Indigenous values of collective creation that have persisted across generations. Every bead, quill, and strand of fringe operates as both material element and cultural signifier, contributing to sculptures that communicate in visual languages the contemporary art world is still learning to comprehend.