Through collaborative and culturally responsive processes, we bridge the divide between Native communities and the organizations that represent their art, cultures and histories.


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.


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.


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.

Deana Dartt’s CV

Kelsey Leib, MA candidate and Live Oak intern, is a textiles artist from Cleveland, Ohio. She received her BFA in craft with a focus in fiber art from Kent State University and is currently studying nonprofit management with a focus in arts and cultural leadership at the University of Oregon. She aims to support art that acts as a catalyst for social change, work that provides a voice for marginalized and underserved communities, and arts education initiatives. Kelsey also works an administrative role at the Eugene Education Foundation.


Tima Lotah Link is an Advertising Art Director who specializes in designing for California Native cultural publications, exhibits, public spaces, and magazines. Tima is also a Shmuwich Chumash cultural educator and traditional Chumash textile artist. She lectures and teaches for tribal organizations, educational institutions, non-profits, and governmental agencies.

Tima is a member of the California Indian Basketweavers’ Association and is featured in the book California Indian Baskets: San Diego to Santa Barbara and Beyond to the San Joaquin Valley, Mountains and Deserts (Vol 2). She received the 2012 Best in Show at the Autry American Arts Marketplace for her basketry, the First People’s Fund 2017 Community Spirit Award for her years as a cultural educator, and an Emmy for her work on the KCET series Tending the Wild.


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 internationally recognized artist, environmental advocate and teaching artist. For over 20 years she has been creating art exhibitions made from trash that engage people in conversations about how we live on the earth. Nancy exhibits her work in public airports and museums and one of her pieces, the Obamanos Coat is in the Smithsonian Museum’s permanent collection. In her work as a teaching artist, Nancy provides arts integration to students in classrooms and adults in training settings. Nancy’s work is inspired by the indigenous people around the globe who have cared for the earth for thousands of years. She asserts that by following their lead and working with them, we can collectively mitigate the impacts of climate change. Nancy explores her own privilege, colonized mindset and white/settler fragility and brings her personal experiences to all her trainings. www.RecycleRunway.com.

Nancy Judd Headshot

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.