Through collaborative and culturally responsive processes, we bridge the divide between Native communities and the organizations that represent their art, cultures and histories.
OUR VALUES AND GOALS
We strive to work from a foundation of indigenous methodologies which underscore transparency, accountability, reciprocity (with the land and all beings) and holistic/systems thinking. Our big, overarching goal is to transform the museum field and ultimately the way the world thinks about Native issues, lived experiences, art and cultural practices, and real, sustained stewardship of the land.
WHAT WE DO
We are engaged in all aspects of work surrounding the representation of Native peoples in art and cultural institutions. We believe that all institutions, galleries, and businesses that exhibit, hold, display, and research Native American cultural materials must begin with the development of a sustained, reciprocal dialogue with the local Native community. We know that this can be daunting for many people and we aim help bridge the gap. We provide Cultural Awareness and Decolonization Trainings (or Indians 101) for staff and docents to ease the anxiety around teaching tough subject matter. We also provide all facets of exhibit development and installation, collections care and NAGPRA related work, education and outreach program development, evaluation and strategic planning.
A BIT ABOUT US…
Deana Dartt, PhD (Principal) is Coastal Chumash and Mestiza, descending from the indigenous people of the Californias. Her scholarly and professional work strives to address the incongruities between public understanding, representation and true acknowledgement of Native peoples, their cultures, histories and contemporary lives. She earned her MA and PhD from the University of Oregon (go Ducks) and has held curatorial positions at the Burke Museum of Natural and Cultural History and the Portland Art Museum as well as teaching appointments at the University of Oregon, University of Washington, and Northwest Indian College. She recently completed a writing fellowship at the School for Advanced Research where she revised her book manuscript for publication titled: Subverting the Master Narrative: Museums, Power and Native Life in California.
Chanin Santiago, MA, is of Puerto Rican descent and is a curator, exhibition designer and mount-maker. She received her BA in Art, with a focus in Jewelry + Metalsmithing and an MA in Arts Management with a concentration in Community Arts + Museum Studies. She believes museum professionals have an important role as stewards of collections and presenting meaningful content that promotes wonder, engagement and understanding in communities. She is committed to community collaboration and new museological approaches that includes strong ethics and accurate representation and interpretation of culture and heritage, especially with marginalized communities.
Her research has explored issues encompassing indigenous methodologies in curation and collections, inclusion and equity, the historical misrepresentation/absence of indigenous, LatinX and marginalized peoples in museums and exhibitions, and approaches to community collaboration. In addition to her work at Live Oak, she works to democratize the arts through her work at the municipal level, advocating for and working toward inclusion and equity in community programs and public art.
Nancy Judd is an artist, environmental educator and trainer. She is the founder of Recycle Runway which strives to change the way people live on the earth through innovative exhibitions that showcase her sustainable fashion sculptures made from trash. Nancy’s work has been sponsored by international organizations including Delta Air Lines, Toyota, Coca-Cola and Target, and one of her pieces was accepted into the Smithsonian’s permanent collection in 2011.
Ms. Judd also creates site-specific public art, often in community workshops. In Lincoln City, on the Oregon coast, she was asked to create the Jellyfish Dress, a garment using plastic bags that brought attention to marine conservation issues. In Chapel Hill, North Carolina, she used inner tube tires in Tire-less Couture to showcase the City’s commitment to encourage citizens to drive less and use the new bicycle paths.
Nancy uses her sculptures to capture people’s attention and inspire actions in their lives to help care for the planet. She accomplishes this through giving engaging speeches and providing creative eco-events for adults and children in conjunction with her exhibitions, public art commissions and sculpture sponsorships.
Nancy is also a teaching artist, providing arts integration experiences to students in classrooms and adults in training settings. Nancy creates art’s experiences (visual, literary, movement, theater and mindfulness based) that help participants experience subject matter in different ways. Nancy has been exploring her own privilege, colonized mind-set, and white guilt responses in depth and brings her personal healing experiences to her all of her trainings.
Alice Parman began her career at the Field Museum. She worked for 16 years as a museum educator and director, before joining an exhibit design firm as planner/writer. In 2003, she launched her own business as an interpretive planning consultant. Alice leads exhibit development workshops for regional and national museum associations, and has been a keynote speaker at statewide museum conferences. She is co-author, with Ann Craig, Lyle Murphy, Liz White, and Lauren Willis, of Exhibit Makeovers: A Do-It-Yourself Workbook for Small Museums, 2nd edition. Alice’s client list includes The Museum at Warm Springs; The Museum of the Aleutians; Hoonah Indian Association and Red Cloud Indian School (with Tribal Museum Planners & Consultants); and the American Indian Cultural Center and Museum.
Brenna Two Bears, BA, is Navajo, Ho-Chunk, and Standing Rock Lakota from Black River Falls, WI and Flagstaff, AZ. She studied Art History & Visual Culture at Whitman College in Washington state with a focus on Tribal Museums and the Politics of Display. Her work in museums ranges from assisting her tribe with their first ever Ho-Chunk Museum & Cultural Center to most recently, curatorial intern at the Metropolitan Museum of Art. She strives to uplift youth through art education, as well as prioritize Native voices within cultural institutions that house indigenous works. In addition to her work with Live Oak Museum Consulting, she is an educator in Tempe, Arizona.