Floor 3, Susan and John Hess Family Gallery and Theater
The New Red Order—enlisting a rotating and expanding cast of Informants including Ashley Byler, Jim Fletcher, Tali Keren, Adam Khalil, Zack Khalil, Kite, Erica Lord, Noelle Mason, Del Montgomery, Laura Ortman, Tony Oursler, Jeremy Pheiffer, Jackson Polys, and Kate Valk—uses video and performance to create a site of acknowledgement, savage pronouncement, calling out, calling in, recruitment, and cumulative interrogation to shift potential obstructions to Indigenous growth.
The New Red Order writes:
"Efforts to 'decolonize' institutions are embodied in ritual acts of acknowledging Indigenous presence and claims to territory. Within what is currently called the United States, these acknowledgements are increasingly—if only recently—understood as prerequisite for demonstrating engagement with Indigenous communities. However, without continuous commitment to serve as accomplices to Indigenous people, institutional gestures of acknowledgement risk reconciling 'settler guilt and complicity' and rescuing 'settler futurity.'" ("Decolonization is not a metaphor," E Tuck, KW Yang, Decolonization: Indigeneity, education & society, 2012.)
"How can we escape this entrapment and allow acknowledgement to retain its potential to unsettle? What must we do to begin to undertake a process of endless acknowledgement?"
"In our current period of existential and environmental catastrophe, desires for Indigenous epistemologies increase and enterprising settlers labor to extract this understanding as if it were a natural resource. The New Red Order—emerging out of contradistinction from the Improved Order of Red Men, a secret society that 'plays Indian'—calls attraction toward indigeneity into question, yet promotes this desire, and enjoins potential non-Indigenous accomplices to participate in the co-examination and expansion of Indigenous agency."
This event has reached capacity. Verbal description is available.
The Whitney Museum of American Art acknowledges that its building at 99 Gansevoort Street is built on unceded Indigenous lands, specifically the territory of the Lenape. As a museum of American art, the Whitney recognizes the continual displacement of Native people by the United States and is committed to working to dismantle the ongoing effects of this colonial legacy.
The Susan and John Hess Family Theater is equipped with an induction loop and infrared assistive listening system. Accessible seating is available.
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