State Names Obscured in Native American Artist Jaune Quick-to-See Smith’s Collage

By Alexandra Isham, Alliance Intern from the Ohio State University ‘25

We are celebrating Native American Heritage Month by highlighting one of Jaune Quick-to-See Smith’s expressive paintings, prints and drawings that delves into Native American histories, identities and cultural myths, addressing the injustices faced by their communities.

After being told early on that women couldn’t be artists, she persevered for 20 years to earn her art education degree while raising two sons. I found this incredibly empowering. As a member of the Confederated Salish and Kootenai Tribes of the Flathead Reservation, Smith connects elements of traditional indigenous art with contemporary abstract modernist visual styles.

Raised on the Flathead Reservation, Jaune Quick-to-See Smith is deeply connected to her heritage. She creates work that addresses the myths of her ancestors in the context of current issues facing Native Americans.

Her inspiration stems from the formal innovations of such artists as Pablo Picasso, Paul Klee, and Robert Rauschenberg, as well as traditional Native American art. Her work belongs to collections in the Smithsonian American Art Museum, the Museum of Modern Art, the Brooklyn Museum, the Metropolitan Museum of Art, and the Whitney Museum of American Art.

When you first glance at Smith’s collage State Names, it appears to be a map of the US. However, as you look closely, it transforms into an abstract representation of the US. Further interpretation and curiosity reveal its complex details and thoughtful design. I admire how Smith takes something familiar and reinterprets it into an abstract and symbolic piece, allowing for various interpretations and encouraging creative thinking among viewers, thereby encouraging viewers to go deeper than the surface.

“She describes her use of icons as a ploy, as something that brings the viewer closer, and they think they know what they’re going to see. Then, once they’re there, something else happens.”

In State Names, Jaune Quick-to-See Smith selectively includes or obscures state names, drawing attention to the etymological roots of each name. States with indigenous-derived names remain visible, while those with European origins are left out, prompting viewers to question the significance of these choices. The blurred outlines, missing names and dripping paint evoke a sense of disputed space, possibly symbolizing blood, tears, or the slow erosion of Indigenous presence as noted by SmartHistory.

“Smith has said that her maps are points of departure for the political treatment of Native people. She has also said that she cannot say strongly enough that her maps are about stolen lands,” Dr. Showalter says. This powerful statement compels us to confront the harsh realities of colonization and recognize the ongoing struggle for justice and recognition.

Jaune Quick-to-See Smith’s maps powerfully highlight the political treatment of Native communities and the enduring impact of colonization. Her art sheds light on the concept of “stolen lands,” encouraging viewers to confront uncomfortable historical truths. It is essential to support artists like her, as they demonstrate the courage to speak out and share vital stories that inspire change and promote a more inclusive and equitable society.