Rose B. Simpson
The line of sculptures before you, entitled *Counterculture*, is a temporary installation presented in conjunction with the exhibition *To Take Shape and Meaning: Form and Design in Contemporary American Indian Art*, on view in the NCMA galleries through July 28. With eyes that go through their heads, the figures represent watchful presences perpetually observing and reminding us of what the original stewards of these lands already knew: we are all guests in the natural world. The figures in Counterculture look across what is, for Indigenous peoples, a postapocalyptic vista of the vast homelands from which Native communities were forcibly removed to make way for settler colonialism. Like mothers minding children, the all-seeing, feminine-bodied forms implore us to go forward with respect and honor for all that came before. The artist, Rose B. Simpson, descends from an Indigenous American tribe famous for the ceramics made by women since the sixth century. Simpson’s work builds on this tradition with new materials and methods. The ceramic necklaces adorning the figures resemble fireclay from the artist’s ancestral lands in present-day New Mexico. The earth-tone dyed concrete used to cast Counterculture pays homage to landscapes near and far, including the woodland hills stewarded by the Stockbridge-Munsee Band of Mohicans, on whose ancestral lands Counterculture was first installed.
Rose B. Simpson, *Counterculture*, 2022, Commissioned by Art & the Landscape, a program of the Trustees, Massachusetts; Courtesy the artist, Jessica Silverman, San Francisco, and Jack Shainman Gallery, New York; and Private Collection, Boston, MA. *Counterculture* was organized by guest curator Jamilee Lacy in partnership with the Trustees and staff at its deCordova Sculpture Park and Museum, Lincoln, Massachusetts, as part of its Art & the Landscape initiative. The Trustees gratefully acknowledge support for Art & the Landscape 2022 from the Wagner Foundation and from the following individual donors: Janet and David Offensend; Valentine Talland and Nagesh K. Mahanthappa; Marjorie and Nick Greville; Chris Rifkin; and an anonymous donor. This installation is made possible, in part, by the Hartfield Foundation; Libby and Lee Buck; the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this installation was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel



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