The Spiral Jetty in Utah’s Great Salt Lake, Lands End’s labyrinth in San Francisco, and the staggering Mount Rushmore in South Dakota: land art installations of all sizes are nearly as ubiquitous as museums and galleries. But what are the implications of land art for Indigenous people, the original caretakers of the land upon which these pieces sit (or are, as in the case of Mount Rushmore, carved)? In “Hubris in Art Form,” his article in Alta Journal’s Issue 22, Comanche and Muscogee Creek writer Jason Asenap details land art from an Indigenous perspective. He joins Alta Live to dig deeper into this important topic, examine the concepts of property and public art, and answer your questions. Join us!
About the guest:
Jason Asenap is a Comanche and Muscogee Creek writer and filmmaker based in Albuquerque, New Mexico. He holds an MFA in screenwriting from the Institute of American Indian Arts. His films have screened around the United States and internationally. In addition to film, Asenap publishes thoughtful journalism, writing primarily about Indigenous contributions to film, art, and culture. He is an award-winning Indigenous film critic, receiving top awards for his film criticism from the Native American Journalists Association in 2020 and 2022. You can find his writing in Esquire, Alta Journal, Grist, High Country News, Salon, and New Mexico Magazine. Asenap was born and raised in Oklahoma and spent significant time in North Texas. He calls the southern plains and the high desert of New Mexico home, and they heavily influence his aesthetic.•