Exhibition: WE ARE THE SEEDS (Santa Fe): Art + Culture + Fun

WE ARE THE SEEDS (Santa Fe): Art + Culture + Fun

August 17-19, 2017 / Santa Fe Railyard
Thursday, August 17 /  9a - 5p
Friday, August 18 / 9a - 5p
Saturday, August 19 / 9a - 4p

The 3-day event will feature juried high-quality contemporary and traditional indigenous art and a festive celebration that includes music, dance, fashion, literary, and culinary art. The event will host approximately 100 artists representing a diversity of cultures and regions, in the wonderful Santa Fe Railyard. Artists include textile weaver Leona Bia, jeweler Jake Livingston, sculptor Tony Lee, painter Rabbett Strickland, basket weaver Sally Black, and fashion designer Loren Aragon (see list below). In addition, Seeds Santa Fe will highlight and honor indigenous women artists. Each of the featured artists will be sharing about their art by demonstrating their techniques in their booths. The Seeds Stage includes performances by vocalist Jennifer Kreisberg, blues band Smokestack Lightning, R&B performer Honey, DJ/MC/traditional singer Brian Frejo, classical pianist Zachariah Julian, and rock/blues band Son of Hweeldi. Seeds Santa Fe will also feature a youth art workshop, a youth music workshop, and a poetry workshop for indigenous women.

Click here to find event directions.       View/Print Event PDF

Gallery: Bell Street Gallery, La Pointe Wisconsin, Madeline Island

Show Opening Saturday, May 28th 1:00pm–4:00pm

You are invited to view/purchase paintings Rabbett completed this past winter. Take the ferry from Bayfield Wisconsin over to the beautiful Bell Street Gallery on Madeline Island. Rabbett's paintings will be there during the summer of 2016 — until someone snatches them up, anyway!

Check the Madeline Island Calendar or the Bell Street Facebook page for special events — you may get to enjoy some music while you shop!

Bell Street Gallery, 807 Bell Street, La Pointe, WI 54850, Madeline Island, Lake Superior


Click + and - to zoom in or out on map.

Exhibition: Contemporary Canvases of Native Nations

"Nanabozho and Winonah" 2001 Oil on canvas. Collection of the Madeline Island Museum, Wisconsin Historical Society. Rabbett Before Horses Strickland (Anishinaabe, born 1949)

"Nanabozho and Winonah" 2001
Oil on canvas. Collection of the Madeline Island Museum, Wisconsin Historical Society.
Rabbett Before Horses Strickland (Anishinaabe, born 1949)


Tuesday, Aug 18, 2015 – Saturday, Apr 2, 2016
Wisconsin Historical Museum

Wisconsin Historical Museum, 30 N Carroll St
Madison, WI 53703

In Native American art, every color, line, and symbol is intentional and represents something bigger than the art piece. "Contemporary Canvases of Native Nations" celebrates Native artists of Wisconsin and their rich traditions.

Learn about the tribes of Wisconsin and their styles, methods, and techniques. "Contemporary Canvases" is developed by the 2015 Exhibit Interns of the Wisconsin Historical Museum.

Cover Artwork: Last Standing Woman

Rabbett's painting Sudden Gust of Wind was chosen for the cover of the reprint of Winona LaDuke's only novel Last Standing Woman.

Winona LaDuke is a writer, economist, lecturer and enrolled tribal member of the Anishinaabe of White Earth reservation. She is also the Executive Director of Honor the Earth, where she works on a national level to advocate, raise public support, and create funding for frontline native environmental groups.

The long-awaited reprint of Winona LaDuke’s only novel is now available! Based on a tragic history and presenting a hopeful vision for the future, Last Standing Woman is a powerful and poignant novel tracing the lives of seven generations of Anishinaabe (Ojibwe/Chippewa). Beginning in the 1860s, the story chronicles a Native-American reservation and its people’s struggle to maintain their culture.
— Reprint release announcement

Exhibition: Right To Consciousness Trepanier Hall


Rabbett Before Horses Strickland’s “Right to Consciousness” Art Exhibition and Artist Reception

WHEN: Friday, June 27, 2014 @ 6:00 p.m.

WHERE: Gimaajii Mino Bimaadizimin-Trepanier Hall
American Indian Housing Organization
202 W. 2nd Street Duluth, the former YWCA

Open to the public. Free of charge.

This Friday, June 27, American Indian Housing Organization (AICHO) is pleased to present Artist Rabbett Strickland and his painting collection to the Duluth community. The art exhibit will feature 24 original works of art and is the largest show of his career. The show is free and open to the public. 

Exhibition: Right To Consciousness, Madeline Island Museum

Memorial Day Weekend through September, 2012

Madeline Island Museum
226 Colonel Woods Avenue
La Pointe, WI

A collection of Rabbett's work, including his brand new painting Right to Consciousness, will be on display in the Capser Gallery throughout the 2012 season. In fact, Rabbett put the finishing touches on the painting after it was hung in the museum.

Madeline Island, or Moningwunakauning Minis  —  "Home Of the Yellow-Breasted Woodpecker" in Ojibwe, is sacred to the Anishinaabe.

Exhibit: Art Traditions of the Anishinaabe, Madeline Island Museum

Memorial Day Weekend through September, 2010

Madeline Island Museum
226 Colonel Woods Avenue
La Pointe, WI

Rabbett's Paintings are featured in the 2010 Season exhibit "Art Traditions of the Anishinaabe" in the Capser Gallery, at the Madeline Island Museum, La Pointe, Wisconsin on Madeline Island, from late May through October.

The exhibit is made up of contemporary Ojibwe art juxtaposed with historic artifacts from the museum's collection. The featured artist is Rabbett Before Horses Strickland (Red Cliff Ojibwe) and the show contains new work from many other Anishinaabeg artists from throughout the region. The exhibit was organized in partnership with the University of Wisconsin-Superior's Office of Multicultural Affairs.

Madeline Island, or Moningwunakauning Minis  —  "Home Of the Yellow-Breasted Woodpecker"  in Ojibwe, is sacred to the Anishinaabe.

Cover Artwork: Original Instructions

These are instructions on how to be a good human being living in reciprocal relation to nature. These are natural laws that when ignored, have natural consequences.
— Melissa K. Nelson, Editor

Rabbett's artwork was chosen for the cover of the book Original Instructions: Indigenous Teachings for a Sustainable Future, edited by Melissa K. Nelson, San Francisco State University Assistant Professor of American Indian Studies, published on January 16, 2008.

SF State Assistant Professor of American Indian Studies Melissa Nelson's book, "Original Instructions, Indigenous Teachings for a Sustainable Future" (Bear & Company Books, 2008), offers holistic approaches to a healthier planet and hope for the future of its biological and cultural diversity.

In this collection of essays and speeches, native leaders discuss the connections and contradictions between indigenous traditional beliefs and the contemporary struggle to create a sustainable world.

The title of the book refers to the "Original Instructions " or "First Teachings," literal and metaphorical lessons given to indigenous and traditional cultures by their creator(s).
San Francisco State University article

Purchase: The Cultural Conservancy
Purchase: Amazon

Exhibition: Tweed Museum Of Art

Photo, Tweed Museum

Photo, Tweed Museum

From Dreams May We Learn
Paintings and Drawings by Rabbett Before Horses

For Immediate Release
WHAT: From Dreams May We Learn: Paintings and Drawings by Rabbett Before Horses
WHERE: Tweed Museum of Art, University of Minnesota Duluth
WHEN: November 20, 2007 – February 24, 2008

Special Event: Tuesday, November 20, 6pm
Opening reception and Gallery Talk

The Tweed Museum of Art, University of Minnesota Duluth, is proud to present a major exhibition of the paintings of Rabbet Before Horses, a masterful figurative painter whose works narrate elements of Ojibwe mythology and creation stories, seen through the lens of the artist’s dreams. The exhibition is scheduled for November 20, 2007 – February 24, 2008, and will consist of 6-8 mural sized paintings and 10-12 smaller-scale paintings and drawings.

Our collective desire is to reconcile the unknown with understanding. It is through story that we maneuver ourselves through an essentially mysterious world. Ideas that arise in the space between the telling and one’s receiving, amid words and silences, transform in accordance to rules free of gravity. Perhaps, that is why we can fly while dreaming. We are carried into an ephemeral and cohering realm, where suggestion lives free of conventional physics and the perception by linear time. In this realm as well, we are just as subject to fear as to freedom, to death as to hope. I suppose that’s why it is important to have good storytellers, good spirit guides.

In Rabbett Before Horses’ paintings we are witness to an ideological handshake between the artist and his classical and modern predecessors that stretch, at least, from the archaic Greek painter Lydos’ depiction of Dionysus among Satyrs and Maenads, to Francisco Goya’s depiction of dreaming in The Sleep of Reason Produces Monsters, and beyond. Following in that tradition, Rabbett Before Horses renders highly descriptive visions of what appear to be mythical scenarios onto mural sized canvases populated by creatures, people and some ominous transfused versions of both. The artist’s visual narrative suggests seriality and turns on pictorial storytelling devices. Though pictorially lush, beauty is not intended to be seen at face value. Characters inside these stories have multifarious motivations. After all, Nanabozho is both human and godly, thus suffers from caprice. The elements of these stories, their symbolism and reality coincide — as Greek drama functions — wherein tragedy distinguishes itself from comedy only in so far as the hero may fall. Such storytelling conjoins parallel worlds — that which is, and that which the storyteller envisions. Strickland insists that we see both. The internal logic of the imagery is based on history — fact and legend — that is represented in iconic terms.

Rabbett Before Horses’ panascopic vision is accessible, but calls for some degree of culpability. The stories are overtly bound by a pre-existing out-of-the-frame narrative, a back story, rife with mystical contingencies and unresolved inherited memories of violence.
— Ken Bloom, Director, Tweed Museum of Art: Exhibition Catalog Introduction

Exhibition Catalog: From Dreams May We Learn: Paintings and Drawings by Rabbett Before Horses

Bloom, Ken et al

Duluth, Minnesota: University of Minnesota, 2007. Softcover. Color illus. wraps; 51 pp.; 25 color and bw plates. VG. Item #109368
ISBN: 18889523348

The Tweed Museum of Art published a 52-page illustrated book on Rabbett's paintings, with texts on the paintings by Jean Buffalo, former Tribal Chairperson and Tribal Judge for the Red Cliff Band of Lake Superior Chippewa. The book's main essay is written by David Treuer, an Ojibwe author from the Leech Lake Reservation in northern Minnesota. The book also contains an introduction and interview by Tweed Museum of Art Director Ken Bloom. The book is available through the museum store and other suppliers.

Gallery: Gallery Atitlan, Minneapolis


Rabbett's paintings are on display in Gallery Atitlan, 609 S. 10th St., in Minneapolis in 2007. The Gallery, and Rabbett's work, were featured in an article by Anna Pratt in Southwest Journal.

One of those cultures we might need to survive is portrayed by Anishinaabe oil painter Rabbett Strickland, who’s also an inventor and mathematician. Strickland’s flat, matte-finished works, some of which reach 10.5 feet by 6.5 feet, dwarf visitors. Centering on the mythic character Nanaboozhoo, the Ojibwe Great Spirit that appears in many native parables, he shows free-flowing figures with acid blue hair who fight a tough current as they’re swept up into assimilation on monumental canvases. Nanaboozhoo possesses both divine powers and human weaknesses. With creeping warm tones, the Botticelli-like Native American people drown in a lake.

Other Strickland figures grasp a flagpole bearing the U.S. flag, while another speaks to genetically modified rice. These are visions that appeared to Strickland in his sleep and persisted until he transcribed them with a brush.
— Anna Pratt, Southwest Journal

Exhibition: Impacted Nations: A Traveling Indian Art Show



Honor the Earth, a national Native American foundation and political advocacy organization, is launching its Impacted Nations traveling art show in New York City this month. Premiering at the Nathan Cummings Foundation at 475 10th Avenue (between 36th and 37th Streets) now through January 2006, the artwork profiles the intersection of Indigenous artists and environmental concerns.

With over fifty pieces of artwork spanning the continent, Impacted Nations is an artistic collaboration that portrays the conflict between Native peoples' cultural and spiritual relationship to Native land and the economic forces that undermine that relationship and Indigenous ways of

“By bringing Native art and resistance into the spectrum of mainstream fine arts and culture, we include the voices of the most vocal and passionate communicators: the fine contemporary and traditional art of Native peoples who live in remote villages, reservation towns, border communities and urban centers,” Winona LaDuke said.

As her work with Honor the Earth progressed, LaDuke encountered more and more Indian artists who were saying the same thing with their art - “the anguish and angst” inherent in the conflict between an industrial society and Native people.

”They came to us many times, saying ‘We have art, can you use it?,’ “ she said. “The support of artists for our mission has been great.”

Eventually, LaDuke had collected enough names and artworks that she decided to organize the “Impacted Nations” show. It opened in New York in 2005 and has winded its way through the country over the last three years - from Santa Fe, N.M., to Minneapolis to Durango, Colo., to Pine Ridge, S.D.

In other words, all through Indian Country.

The work, all from Native artists, is both traditional (hide paintings) and contemporary, a mix of media and messages that ultimately have one voice: that of a clash of cultures, with spiritual overtones.

The artists are the tops in the field of Native art, and include Rabbett Strickland, who LaDuke calls “the Michelangelo of the Native people.”
— Missoulian Article about the show (Winona LaDuke, American Indian activist and author, the director of Honor the Earth, the show's organizer)