Erica Lord

Erica Lord
Born Nenana, Alaska
Nationality American
Known for Performance art, photography
Notable work
  • Un/Defined Self-Portrait Series (2005), C-prints of variable dimension
  • (Untitled) I Tan To Look More Native (2006), Digital Inkjet, variable dimensions
  • Artifact Piece, Revisited, (2009), performance and mixed media installation
Website ericalord.com

Erica Lord is an interdisciplinary artist of Athabascan, Iñupiaq, Finnish, Swedish, English and Japanese heritage.[1] Working in the forms of performance, film, photography and installation, Lord's work addresses culture, identity, gender, home, and diaspora.[2]

Life

Born to a Finnish-American mother and Iñupiaq/Athabascan father, Erica Lord grew up traveling between her father's village in Nenana, Alaska and her mother's home community in Michigan. Nenana, located in Central Alaska, has a large Native population, according to the 2010 census it's populated by 378 people. Her mother lived in a mostly white town in Michigan’s Upper Peninsula. Lord’s father was an activist in the Indian movement.[3] Her personal experience perpetually moving between various geographic places inspires her work's interest in themes of displacement, cultural identity and cultural limbo.[2]

She received a B.A. in liberal arts and studio arts from Carleton College in 2001 and completed her M.F.A. in sculpture and photography at The School of the Art Institute of Chicago in 2006.[4]

Career

Erica Lord has exhibited her work in solo exhibitions at the DeVos Museum of Art (Marquette, MI) and the Alaska Native Arts Foundation Gallery (Anchorage, AK), as well as in group exhibitions such as the Havana Biennial and the Museum of Contemporary Native American Art.[5]

Notable exhibitions

  • 2010, Dry Ice, Museum of Contemporary Native American Art, Santa Fe, NM[5]

Works

  • Un/Defined Self-Portrait Series (2005), C-prints of variable dimension
  • (Untitled) I Tan To Look More Native (2006), Digital Inkjet, variable dimensions
  • Artifact Piece, Revisited, (2009), performance and mixed media installation: On April 3rd, 2008 Erica Lord arrived at the George Gustav Heye Center, the National Museum of the American Indian, at the Smithsonian Museum in New York, for a performance/installation titled Artifact Piece, Revisited. This piece was a reenactment of American artist James Luna’s Artifact Piece, that he first performed at the San Diego Museum of Man in 1987. When Lord entered the gallery, she lay down in a case, closed her eyes, and allowed museum visitors to examine her over the next few hours. Captions placed throughout the display identified parts of her, such as her painted toenails. There were two glass cases on either side of the box where Lord laid, that contained clothing and her personal possessions. One side contained Alaskan Native dress, and the other contained modern clothing. This first performance of Artifact Piece, Revisited was followed by lectures and a discussion with Lord herself. The artist returned to the museum to perform the piece again twice over the next two days. Using her body as a conversation piece, Lord critiqued the displaying of Native people in museum exhibits and the display of women’s bodies.

References

  1. ↑ Museum of Contemporary Native Arts. (2011). New Native art criticism : manifestations. Santa Fe, NM: Museum of Contemporary Native Arts. pp. 132–133. ISBN 9780615489049.
  2. 1 2 "home page". Erica Lord. Erica Lord. Retrieved 8 March 2015.
  3. ↑ Smith, Paul Chaat (2009). Everything You Know about Indians Is Wrong. Minneapolis, Minnesota: University of Minnesota Press.
  4. ↑ Lord, Erica (2009). Williams, Maria Sháa Tláa, ed. The Alaska Native Reader: History, Culture, Politics. Duke University Press Books. p. 340.
  5. 1 2 "Erica Lord C.V." Erica Lord. Retrieved 8 March 2015.
  6. ↑ Fairfield, Douglas (10 July 2009). "ART IN REVIEW". The Santa Fe New Mexican.
  7. ↑ "BADLAND: REBECCA BELMORE, LORI BLONDEAU, BONNIE DEVINE, AND ERICA LORD". Gallery Guide West. 2009.
  8. ↑ "Native Artists Challenge Landscape Traditions in 'Off the Map'". Seminole Tribune. 8 March 2015.
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