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The exhibition Designed to Be Red: Native American & Indigenous Poster Works, at New York’s Poster House, spans two centuries, represents more than 60 tribes and nations and is on view through February 2027
‘Created by the Amplifier foundation, this poster features Helen “Granny” Redfeather of the Oglala Lakota tribe ,’ explains Johnson. ‘The foundation created the poster in 2016 as part of their We the People campaign, displayed throughout Washington DC during the Women’s March in 2017.
Redfeather is known as an iconic activist in the Indigenous community, fighting for human rights and participating in protests such as the Dakota Access pipeline protests. The inclusion of the poster in the Women’s March asserts the history of Indigenous resistance in the face of oppression’All Indian Nations Arts Festival, 1980, Hulleah Tsinhnahjinnie ‘Native art fairs, festivals, markets and powwows are gathering spaces for Indigenous people to share their culture with people from other backgrounds.
Within the poster All Indian Nations Arts Festival, Indigenous dancers face the San Francisco cityscape at sunset. Their placement against the urban landscape creates a contrast between traditional values and modern society, highlighting the presence of Indigenous people in urban spaces’National Savings Bank, 1969, Daphne Padden ‘National Savings Bank was created by the United Kingdom’s National Savings Bank during the height of the Red Power movement, when Native Americans across North America were fighting for their identity and sovereignty.
The poster featuring a Native family pokes fun at low interest rates. Padden’s poster is an example of the racist archetypes made about Native Americans’Indigenous Peoples’ Day, 2019, Kevin Coochwytewa ‘Coochwytewa’s poster features a motif of three geometric seeds that represent corn kernels. The circles surrounding the kernels reflect the Indigenous community’s growth, hope and prayers. The colors in the design symbolize the change from day to night and wet to dry.
The small cornstalk at the bottom represents cultural pride. Coochwytew’s Isleta Pueblo and Hopi heritage inspired his lifelong appreciation for art and design, shaping his work’Water is Sacred, c 2016, Onaman Collective ‘The Onaman Collective created this poster in 2016, during the Standing Rock protests against the Dakota Access pipeline.
The thunderbird depicted as a woman on the poster is considered a protector against evil’Because Once You Enter My House, It Becomes Our House, 2021, Jeffrey Gibson and Dana Claxton ‘This poster is named after Jeffrey Gibson’s monumental sculpture of the same name. Each image in the series features traditional Indigenous design practices, highlighting the craft’s past and future.
The doll-like figure evokes the “little people” found across Native folklore, often seen as helpful, mischievous, but sometimes malevolent creatures. In this design, they are being celebrated in a joyful manner, with colorful, vibrating lines tracing their silhouettes’Let Our Voices Be Heard, 1990, David John ‘Let Our Voices Be Heardwas designed by the Institute of American Indian Arts , led by George Burdeau, to encourage Native Americans to participate in the 1990 census.
The IAIA created five posters, along with other tools, to rebuild Native Americans’ trust in the government. The design was unveiled to President George HW Bush in the White House Treaty Room in the spring of 1989, a painfully significant location to the Native community.
The Treaty Room was where the US government formalized its promises to Native Americans, which historians generally agree have been violated’Marvel Celebrates Native American Heritage Month, 2020, Jeffrey Veregge ‘The poster was commissioned by Marvel in honor of Native American Heritage Month and displayed in comic book stores around the nation. In his designs, designer Jeffrey Veregge calls his aesthetic “Salish Geek”, in reference to the Salish peoples who populate the Pacific north-west.
His work incorporates motifs from the group’s historic Coast Salish design with elements of pop culture, creating a modernized Pacific north-west Native style’Count Yourself In! , 1986, Rocky Fiddler ‘ Rocky Fiddler designed a bilingual, double-sided poster to honor the three recognized Indigenous peoples in Canada: First Nations, Inuit and Métis. In his posters he incorporates visual signifiers shared by many.
The message behind the design is that federal data collection in Indigenous communities can occur on their terms while preserving their ceremonies, traditions and cultural pride’Ka-Kistêyimâyahkik, c 2015, Melanie Cervantes ‘Ka-Kistêyimâyahkik features an armed Indigenous woman who faces east holding a plant and a gun. She is being depicted as both a giver of life and as its defender. In many Indigenous cultures, this role is shared equally between women and men’
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