Baerg, J. (2018). Teachings: Indigenous theories and methods for Indigenous art histories in North America [Unpublished manuscript]. Faculty of Art, Ontario College of Art & Design University.
Deloria, P. J. (2019). Becoming Mary Sully: Toward an American Indian Abstract. Seattle, WA: University of Washington Press.
Dickenson, R., Myers, L., Art Gallery of Peterborough, Robert McLaughlin Gallery, MacLaren Art Centre, & Museum London (London, Ont.). (2014). Reading the talk: Michael Belmore, Hannah Claus, Patricia Deadman, Vanessa Dion Fletcher, Keesic Douglas, Melissa General.
Dion Fletcher, V.A., & Huard, A. Curiosity & Quillwork. Toronto, Canada: Ontario College of Art & Design University, 2019. Exhibition catalogue.
Miner, D.A. gaawayag quillwork (2018). (1st ed. ) [Chapbook]. Amoxtli Press.
Myers, L.R. Beads, they’re sewn so tight. Toronto, Canada: Textile Museum of Canada, 2019. Exhibition catalogue.
Phillips, R. B. (1998). Trading identities : The souvenir in native North American art from the northeast, 1700-1900. McGill-Queen’s University Press.
White Hawk Polk, D. (2020). The Long Game. Arts, 9(2), 67. Multidisciplinary Digital Publishing Institute.
Vanessa Dion Fletcher is a Lenape and Potawatomi neurodiverse Artist. Her family is from Eelūnaapèewii Lahkèewiitt (displaced from Lenapehoking) and European settlers. She employs porcupine quills, Wampum belts, and menstrual blood, to reveal the complexities of what defines a body physically and culturally. Reflecting on an Indigenous and gendered body with a neurodiverse mind, Dion Fletcher creates art using composite media, primarily working in performance, textiles, and video.
She graduated from The School of the Art Institute of Chicago in 2016 with an MFA in performance at York University in 2009 with a Bachelor of Fine Arts. She has exhibited across Canada and the USA, at Art Mur Montreal, Eastern Edge Gallery Newfoundland, The Queer Arts Festival Vancouver, and the Satellite Art show in Miami. Her work is in the Indigenous Art Centre, Joan Flasch Artist Book collection, Vtape, Seneca College, and the Archives of American Art.
I employ porcupine quills, Wampum belts, and menstrual blood to reveal the complexities of what defines a body physically and culturally. Reflecting on an indigenous feminist body with a neurodiverse mind, I create art using composite media, primarily working in performance, textiles, and video.
I look for knowledge embedded in materials and techniques. Embodiment and visual art allow a reprieve from the colonialism and ableism of English. My interest in communication comes from my lack of access to my indigenous languages (Potawatomi and Lenape), and as a person living with a learning disability caused by issues with short-term memory. This perspective of language and communication is fractured and politicized. Honoring that my body and mind are not separate I address the socio-political representations and implications of menstruation, reproduction, and the biological body.
Aram Han Sifuentes is a fiber and social practice artist who creates participatory projects that center immigrant and disenfranchised communities. Her work often revolves around skill sharing, specifically sewing techniques, to create multiethnic and intergenerational sewing circles, which become a place for empowerment, subversion, and protest. Solo exhibitions of her work have been presented at the Jane Addams Hull-House Museum (Chicago), Hyde Park Art Center (Chicago), Chicago Cultural Center (Chicago), Pulitzer Arts Foundation (St. Louis), moCa Cleveland (Cleveland), and Skirball Cultural Center (Los Angeles).
Aram is a 2016 Smithsonian Artist Research Fellow, 2016 3Arts Award and 2021 3Arts Next Level Awardee, 2020 Map Fund Grantee, and 2022 Joyce Award Recipient. Her project Protest Banner Lending Library was a finalist for the Beazley Design Awards at the Design Museum (London, UK) in 2016. She earned her BA in Art and Latin American Studies from the University of California, Berkeley, and her MFA in Fiber and Material Studies from the School of the Art Institute of Chicago. She is currently a professor, adjunct, at the School of the Art Institute of Chicago, and a board member of the National Korean American Service & Education Consortium (NAKASEC) fighting for Citizenship for All 11 million undocumented immigrants and adoptees.