ABSTRACT
In a conversation with queer Blackfoot artist and curator Adrian Stimson, MacDonald thinks through 2-Spirited queer Indigenous frameworks for curators and artists, tackling questions around balancing responsibilities to both their Indigenous and queer communities, particularly when perspectives might not align. They also address critical accountability and what Stimson perceives as a lack of criticality in Indigenous art due to the necessity of supporting one another in the face of colonial injustice. Rather than stating a specific position or argument, the conversation is more a reflection or consideration of the complexities of navigating artistic and curatorial spaces as both 2-Spirited/queer and Indigenous. This chapter integrates Indigenous and queer perspectives to suggest how an intersectional framework can inform art and curatorial practice. Focusing on the productive methodologies of queer-Indigenous artists and curators, MacDonald considers how these two perspectives can inform possible frameworks and how/if mutual interests, shared material and presentation tropes, and relationships between artists and curators with community are areas where relational frameworks can emerge through practices. The text considers the challenges that can arise when jointly engaging these perspectives, specifically when looking at how or why an intersectional framework may fall apart.
