Judy Anderson

Judy Anderson is nêhiyaw from Gordon First Nation, SK. Her practice includes beadwork, installation, three-dimensional pieces, painting, and collaborative projects, her work focuses on issues of spirituality, family, colonialism, and nêhiyaw ways of knowing and being. Her current work is created with the purpose of honouring people in her life and nêhiyaw intellectualizations of the world. She is an Associate Professor of Canadian Indigenous Studio Art in the Department of Art and Art History at the University of Calgary. 

Katherine Boyer

Katherine Boyer (Métis/Settler) is a multidisciplinary artist, whose work is focused on methods bound to textile arts and the handmade – primarily woodworking and beadwork. Boyer’s art and research encompasses personal family narratives, entwined with Métis history, material culture, architectural spaces (human made and natural). Her work often explores boundaries between two opposing things as an effort to better understand both sides of a perceived dichotomous identity. This manifests in long, slow, and considerate laborious processes that attempt to unravel and better understand history, environmental influences, and personal memories. She holds a position as an Assistant Professor at the University of Manitoba, School of Art.

Teri Greeves

Teri Greeves is beadwork artist and an enrolled member of the Kiowa Tribe of Oklahoma who lives and works in Santa Fe, New Mexico. Teri’s beadwork follows and updates the Kiowa tradition of beadwork, to tell the story of the American Indian, both contemporary and historical. Her works includes, but is not limited to, beaded books, jewelry, and high-top sneakers. Teri’s works can be found in public collections such as the Heard Museum, the Museum of Arts and Design, the Brooklyn Museum, the Denver Art Museum, the National Museum of the American Indian, the New Mexico Museum of Art, and the Museum of Indian Arts and Culture.

Jennine Krauchi

Jennine Krauchi is a Métis beadwork artist and designer. Her clothing and replica work is in the collections of the Manitoba Museum, Parks Canada, the Canadian Museum of History, the Canadian Museum for Human Rights, and institutions in Scotland, France, and the US. She has spent much of her career sharing traditional practices to foster their survival through contemporary applications.

Audie Murray

Audie Murray is a relative, dreamer, skin-stitcher and Michif visual artist based in Oskana kâ-asastêki (Regina, Saskatchewan; Treaty 4 territory). Her practice is informed by the process of making and visiting to explore themes of contemporary culture, embodied experiences and lived dualities. These modes of working assist with the recentering of our collective connection to the body, ancestral knowledge systems, space and time. She has exhibited widely, including at the Independent Art Fair, NYC; The Vancouver Art Gallery; Centre for Contemporary Arts, Glasgow; and the Anchorage Museum. Murray is represented by Fazakas Gallery on Sḵwx̱wú7mesh, Səl ̓ ílwətaʔ, and xʷməθkʷəy̓ əm territory (Vancouver, B.C.).

Elias Not Afraid

Elias Not Afraid is an Apsaalooké beader, fashion and graphic designer. I’m a self taught bead artist, I been beading since i was 12 years old. I learned multiple beading techniques and mediums over the years. I been a full time artist since 2016. In the same year i participated in Santa Fe Indian Art Market for the first time and both entries won. I been doing SFIAM and the Heard art market from 2016 to this day and in that time frame, I collaborated with companies such as Crate & Barrel, Teton Trade Cloth and Wells Fargo to name a few, i been published in multiple magazines and online articles such as Native Arts Magazine, Powwows.com, Upper Case, Instyle and was featured in the February 2021 issue of Vogue magazine and the book “ Vogue: The United States of Fashion” and many others. I was 1 of 5 artist picked nation wide (USA) to design a bank card for Wells Fargo Bank based off my beadwork.

My beadwork was featured in the The Field Museum exhibition: Apsaalooke Women and Warriors in 2020. Also my beadwork is in the permanent collections of multiple museums such as the Smithsonian.

In July 2021, i launched my first ready to wear fashion line. When i design or create an item, I usually come up with the design (floral or geometric) ill most likely come up  with the design on the spot or ill blend both my style and design with my great grandmothers designs together or will bead one of her designs but i just change the colors to my liking. I use the same materials she did as well such as old glass seed beads, smoked deer hide, elk ivories, trade beads but also other items like metal spikes, bones, exotic leathers and bullet shells. I keep the foundation of my work rooted in my traditional elements but also like to branch but and challenge myself to see what else i could do with what was left for us by our ancestors.”

Gregory Scofield

Is Métis of Cree, Scottish and European–Immigrant descent whose ancestry can be traced to the Métis community of Kinosota, Manitoba. He has taught Creative Writing and First Nations and Métis Literature at Laurentian University, Brandon University, Emily Carr University of Art + Design, and the Alberta University of the Arts. He currently holds the position of Associate professor in the Department of Writing at the University of Victoria. Scofield won the Dorothy Livesay Poetry Prize in 1994 for his debut collection, The Gathering: Stones for the Medicine Wheel, and has since published seven further volumes of poetry including, Witness, I am. He has served as writer-in residence at the University of Manitoba, the University of Winnipeg and Memorial University of Newfoundland. He is the recipient of the Queen’s Diamond Jubilee Metal (2012), and most recently the Writers’ Trust of Canada Latner Poetry Prize (2016) that is awarded to a mid-career poet in recognition of a remarkable body of work. Further to writing and teaching, Scofield is also a skilled bead-worker, and he creates in the medium of traditional Métis arts. He continues to assemble a collection of mid to late 19th century Cree-Métis artifacts, which are used as learning and teaching pieces. Scofield’s first memoir Thunder Through My Veins (Doubleday Canada/Anchor Books) was re-published Fall 2019.

DYANI WHITE HAWK

Dyani White Hawk (Sičáŋǧu Lakota) is a visual artist based in Minneapolis, Minnesota. Recent support for White Hawk’s work has included 2021 Anonymous Was a Woman Award, Academy of Arts and Letters Award in Art, and McKnight Visual Art Fellowship, 2019 United States Artists Fellowship in Visual Art, Eiteljorg Fellowship for Contemporary Art, Jerome Hill Artists Fellowship, and Forecast for Public Art Grants, and 2018 Nancy Graves Grant for Visual Artists.

White Hawk’s work is featured in the 2022 Whitney Biennial and in recent solo exhibitions, Dyani White Hawk: Speaking to Relatives, at the Museum of Contemporary Art Denver and Kemper Museum of Contemporary Art. Her work is among many public and private collections such as the Crystal Bridges Museum of American Art, Denver Art Museum, Minneapolis Institute of Art, Museum of Modern Art, Smithsonian National Museum of the American Indian and Walker Art Center. She is represented by Bockley Gallery in Minneapolis.