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Ancestors bend time and space to find their way home.

AANIKOOBIJIGAN [ANCESTOR/GREAT-GRANDPARENT/GREAT-GRANDCHILD] follows the vital work of MACPRA (Michigan Anishinaabek Cultural Preservation and Repatriation Alliance), an alliance of Michigan tribes fighting to return Indigenous Ancestors and funerary objects from museums, archives, and other colonial institutions back to their communities.

Through vérité portraits and an essayistic approach, the film reveals the emotional labor of repatriation while confronting the worldviews that justified these collections in the first place.

Directed by Adam Khalil and Zack Khalil, members of the Sault Ste. Marie Tribe of Chippewa Indians, whose formally daring and innovative work has screened at Sundance, MoMA, the Whitney Biennial, and the Venice Biennale.

🎟️ Sunday, June 14 at 11:00 AM
📍Regal Gallery Place

#dcdoxfest26

Ancestors bend time and space to find their way home.

AANIKOOBIJIGAN [ANCESTOR/GREAT-GRANDPARENT/GREAT-GRANDCHILD] follows the vital work of MACPRA (Michigan Anishinaabek Cultural Preservation and Repatriation Alliance), an alliance of Michigan tribes fighting to return Indigenous Ancestors and funerary objects from museums, archives, and other colonial institutions back to their communities.

Through vérité portraits and an essayistic approach, the film reveals the emotional labor of repatriation while confronting the worldviews that justified these collections in the first place.

Directed by Adam Khalil and Zack Khalil, members of the Sault Ste. Marie Tribe of Chippewa Indians, whose formally daring and innovative work has screened at Sundance, MoMA, the Whitney Biennial, and the Venice Biennale.

🎟️ Sunday, June 14 at 11:00 AM
📍Regal Gallery Place

#dcdoxfest26

Aanikoobijigan [ancestor / great-grandparent / great-grandchild]
(Adam Khalil, Zack Khalil, 2026, 80min)
Trapped in museum archives, Ancestors bend time and space to find their way home. History, spirituality, and the law collide as tribal repatriation specialists fight to return and rebury Indigenous human remains, offering a revealing look at the still-pervasive worldviews that justified collecting them in the first place.
—The Film Collaborative

WORLD ENTERPRISES
(Anthony Banua-Simon, 2026, 14min)
In 1940, on the dry westside of Kauaʻi, the Kekaha Sugar Company began a six-month mail-order film subscription with World Enterprises, an Oʻahu-based distributor—screening films for workers on their Sundays off from harvesting and processing sugarcane. The films, produced on the continent, ranged from John Wayne westerns and anti-union public service announcements to DuPont Chemical industrial shorts. Varied in style, the films shared a common theme: American power taming lands and peoples of the “frontier” through extraction, an encroachment justified by declared ideals of progress. These narratives attempted to codify American absorption as inevitable—meanwhile Asian immigrant laborers were actively exploring socialist futures that incorporated Kānaka Maoli sovereignty and imagined an independent, multiracial nation. WORLD ENTERPRISES is a collage of radical possibilities sourced entirely from the original 1940 film program. — @anthonybanuasimon

🎟️🌐 Tickets and full program guide at prismaticground.com

Aanikoobijigan [ancestor / great-grandparent / great-grandchild]
(Adam Khalil, Zack Khalil, 2026, 80min)
Trapped in museum archives, Ancestors bend time and space to find their way home. History, spirituality, and the law collide as tribal repatriation specialists fight to return and rebury Indigenous human remains, offering a revealing look at the still-pervasive worldviews that justified collecting them in the first place.
—The Film Collaborative

WORLD ENTERPRISES
(Anthony Banua-Simon, 2026, 14min)
In 1940, on the dry westside of Kauaʻi, the Kekaha Sugar Company began a six-month mail-order film subscription with World Enterprises, an Oʻahu-based distributor—screening films for workers on their Sundays off from harvesting and processing sugarcane. The films, produced on the continent, ranged from John Wayne westerns and anti-union public service announcements to DuPont Chemical industrial shorts. Varied in style, the films shared a common theme: American power taming lands and peoples of the “frontier” through extraction, an encroachment justified by declared ideals of progress. These narratives attempted to codify American absorption as inevitable—meanwhile Asian immigrant laborers were actively exploring socialist futures that incorporated Kānaka Maoli sovereignty and imagined an independent, multiracial nation. WORLD ENTERPRISES is a collage of radical possibilities sourced entirely from the original 1940 film program. — @anthonybanuasimon

🎟️🌐 Tickets and full program guide at prismaticground.com

We’re thrilled to share that our film Aanikoobijigan [ancestor/great-grandparent/great-grandchild] will premiere at the 2026 #SundanceFilmFestival.

Eight years in the making, this project grew out of years of listening, learning, and being humbled by the trust placed in us by MACPRA — the Michigan Anishinaabek Cultural Preservation and Repatriation Alliance — and by the Ancestors whose stories live at the center of this film.

Aanikoobijigan follows repatriation specialists from all Michigan tribes as they work to bring their Ancestors home from museums, libraries, and archives. Their persistence, brilliance, and love shaped every moment of this film — and continue to guide us as we scramble to finish the final cut.

Special shout-out to Colleen Utter (@anishinaabekwe_utter ), whose friendship and tireless work on behalf of the Ancestors sparked the making of this film. And also to @steveholmgren and @jocklobster for seeing the project through with us every step of the way over many years, as well as critical production support from @grace.clicquot @apricotyooogurt @t1ffany4scal3 and many more over a very long production phase. And, most importantly, to our late mother, Ally Krebs, whose strength and imagination guide us still — her spirit is deeply woven into this project. And to all the MACPRA repatriation specialists who do the real work of bringing the Ancestors home.

A film like this could only be made in community. It truly takes a village — and we’re profoundly grateful to everyone who has worked with us, supported us, and held this story alongside us. We can’t wait for audiences to experience it.

Chi miigwetch to all the funders who believed in this film: @itvsindies @visionmakermedia @fordfoundation @nyscouncilonthearts @idaorg #SundanceInstituteIndigenousProgram #SundanceDFP @firelight_media @bavcmedia #perspectivefund and more!!!

Single-film tickets go on sale Jan 14.

More info at festival.sundance.org.

Follow @sundanceorg for Festival updates.

More info and proper credits forthcoming!!

Think concert. Think film fest. Think history lesson gone off the rails. Now think all of that in one event.
New Red Order Presents: The Urge 2 Merge is a boundary-breaking mashup of performance, music, film, and cultural exchange. Artists, musicians, academics, and re-enactors collide for one night only in Faneuil Hall. Drop by and raise a glass, grab a slice, and experience art like never before.

🗓️Saturday, Oct 4 | 6PM-12AM
📍4 South Market Street, Boston

Free and open to all. Link in bio.

Think concert. Think film fest. Think history lesson gone off the rails. Now think all of that in one event.
New Red Order Presents: The Urge 2 Merge is a boundary-breaking mashup of performance, music, film, and cultural exchange. Artists, musicians, academics, and re-enactors collide for one night only in Faneuil Hall. Drop by and raise a glass, grab a slice, and experience art like never before.

🗓️Saturday, Oct 4 | 6PM-12AM
📍4 South Market Street, Boston

Free and open to all. Link in bio.

Think concert. Think film fest. Think history lesson gone off the rails. Now think all of that in one event.
New Red Order Presents: The Urge 2 Merge is a boundary-breaking mashup of performance, music, film, and cultural exchange. Artists, musicians, academics, and re-enactors collide for one night only in Faneuil Hall. Drop by and raise a glass, grab a slice, and experience art like never before.

🗓️Saturday, Oct 4 | 6PM-12AM
📍4 South Market Street, Boston

Free and open to all. Link in bio.

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

1/3
𝑪𝒍𝒐𝒔𝒊𝒏𝒈 𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏/ 𝑻𝒉𝒆 𝑪𝒐𝒏𝒗𝒆𝒏𝒊𝒏𝒈
A few weekends back
@zackkhalil NRO Keynote

It’s been 4 years since me and my mother @nativefields had a conversation about what War Club is and could be. Since then with much support and many people, friends family, institutions, artists, relatives and community all over Oklahoma, we were able to hold panels- commission works and bring new dialogue to the forefront in Native/ Indigenous activism today and of the past in Oklahoma.

Art, a critical component to the beginning conversation has intrinsic links to the Red Power moment, and still continues today as it did in the late 60’s and early 70’s. It’s been uplifting to be a part of such a project and work with my Mother, while we as a Nation continue to see the effects and live in real time the exploits of extractive/ colonial systems that takelands, lives, resources and culture.

Thank you @tulsaartistfellowship for the support over the years with the project, thank you @suzanharjo @jordanpoormancocker @kalynfay @zackkhalil @gray.grayconsultants for your leadership and being a part. Yourwords and work are powerful testaments to those who came before us to get us here.
Thank you.

War Club is a symbol of Native resistance and a metaphor for the art of activism.
Through storytelling and community gathering, this intergenerational collaboration honors Oklahoma’s Red Power movements in the face of colonial displacement and genocide. Organized by mother-son artists Anita and Yatika Fields, through the support of Tulsa Artist Fellowship’s Arts Integration Award, War Club consists of 6 public panels through 2021-25, culminating in an exhibition at the Philbrook Museum in Tulsa; of regional Indigenous activists that will showcase portraits of past participants, memorabilia of native resistance and history to Red Power.
We’d like to thank all who have been a part to help create community and engage in conversation, sharing these stories to inspire the generations to come.

Thank you @philbrookmuseum for the exhibition. A lot of people expressed happiness in seeing it up.
Mvto

Don’t miss this very special gathering in partnership with @tulsaartistfellowship!

Featuring:
Anita Fields (Osage, Muscogee)
Yatika Starr Fields (Cherokee, Creek, Osage)
Jim Roan Gray (Osage)
Zack Khalil (Ojibway)
Jordan Poorman Cocker (Kiowa, Tonga)
Ernesto Yerena

Free with rsvp. Philbrook.org/calendar

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

𝘔𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘔𝘰𝘯𝘶𝘮𝘦𝘯𝘵 𝘵𝘰 𝘛𝘩𝘰𝘮𝘢𝘴 𝘔𝘰𝘳𝘵𝘰𝘯 (𝘗𝘭𝘢𝘺𝘪𝘯𝘨 𝘐𝘯𝘥𝘪𝘢𝘯)⁣
by New Red Order [2025] ⁣
⁣
Mixed Media sculpture, combining 3D modelled and printed mimicry, the readymade, and the handmade.⁣
⁣
“The larger-than-life sculpture Material Monument to Thomas Morton, humorously highlights the controversial colonial figure and Puritan defector Thomas Morton: leader of the Merrymount Colony, known for staging multi-day celebrations around an 80-foot maypole, and pursuing a perhaps excessive attraction to indigeneity. ⁣
⁣
Typical symbols found in pop culture, monuments and mascots from across Boston merge with the Tlingit sculptural tradition of “shame poles”—a type of totem pole erected to signal failure and debt —to forge, through a satirical twist, a ‘shameless pole’—which garishly embraces revelry, refusal, and resistance. The artwork prompts not just a critique of the past, but a call to action to recuperate alternative settler dynamics in solidarity and alignment with Indigenous people.”⁣
⁣
Commissioned for the inaugural Boston Public Art Triennial ⁣@thetriennial
⁣
Sculpture by ⁣
New Red Order⁣ ( @selledesong @zackkhalil @jacksonpolys )
⁣
Fabrication by ⁣
The Factory NYC⁣ ( @the_factory_nyc )
⁣
3D Modeling by⁣
Jackson Polys⁣ ( @jacksonpolys )
Harry Kleeman⁣ ( @harry_kleeman )
Coby Kennedy⁣ ( @cobykennedy )
⁣
Concept Art by⁣
Dylan Clancy ⁣
Kindall Almond⁣ (@kindall.almond )
⁣
Graphic Design by⁣
Virgil B/G Taylor⁣ ( @vbgt )
⁣
Couture Patches by⁣
Deesigns New York⁣ ( @deesigns_newyork )
Deepti Deleo⁣ ( @deepti_deleo )
New York Embroidery Services⁣
⁣
Project Managers⁣
Jane Long, BRM Production Management⁣ ( @brmproductionmanagement )
Leo Crowley, Boston Public Art Triennial⁣ ( @leoxcrowley )
⁣
Curators⁣
Pedro Alonzo⁣ ( @trucatriche )
Tess Lukey⁣ ( @tessie9244 )
⁣
Commissioned by ⁣
Boston Public Art Triennial⁣ ( @thetriennial )
⁣
New Red Order, Material Monument to Thomas Morton (Playing Indian), Installation View at Marketplace Center, Boston Public Art Triennial, May 22 - October 31, 2025. Photo: Caitlin Cunningham.⁣ ( @caitlincunningham )
⁣
⁣
⁣

On this National Day of Mourning, as genocidal violence rages on, I grieve and hope to honor my Anishinaabe Ancestors by standing in solidarity with the Palestinian people and their resistance to an ongoing genocidal settler-colonial occupation.

During this bleak moment I want to share a little bit about my Ancestors, to highlight the profound power of intergenerational resistance to settler-colonialism and movement towards liberation and self-determination.

Chief John Boucher (1832 - 1902), my great great great grandfather whose resistance against settler-colonial occupation contributed to my tribe's ability to narrowly avoid forced relocation and maintain a landbase and ceremonial practices in our traditional territories.

Allison Boucher Krebs (1951 - 2013), my Mother, John Boucher’s great great granddaughter, an archivist and activist who dedicated her life to serving our tribe, first through mentoring hundreds of tribal youth as the director of Youth Education and Activities, and later through perpetuating Anishinaabe traditions and culture as a PhD candidate studying Information Science from an Indigenous perspective. Her work was about reconfiguring the power dynamics at play in settler-colonial institutions that patronizingly manage Indigenous information, objects, and ancestral remains. In the middle of this work she died a painful, tragic, and preventable death at the hands of the American healthcare system, but the children she mentored and the children she made continue her work today.

She taught me that our movement towards liberation operates on the time scale of the land, something the colonizer cannot comprehend, let's use that knowledge.

Free the land
Free the people
FREE PALESTINE

follow:
@palestinianyouthmovement
@theimeu
@wizard_bisan1
@theslowfactory
@gazangirl
@wawog_now
@eye.on.palestine
@hiddenpalestine
@anat.international
@nouraerakat

On this National Day of Mourning, as genocidal violence rages on, I grieve and hope to honor my Anishinaabe Ancestors by standing in solidarity with the Palestinian people and their resistance to an ongoing genocidal settler-colonial occupation.

During this bleak moment I want to share a little bit about my Ancestors, to highlight the profound power of intergenerational resistance to settler-colonialism and movement towards liberation and self-determination.

Chief John Boucher (1832 - 1902), my great great great grandfather whose resistance against settler-colonial occupation contributed to my tribe's ability to narrowly avoid forced relocation and maintain a landbase and ceremonial practices in our traditional territories.

Allison Boucher Krebs (1951 - 2013), my Mother, John Boucher’s great great granddaughter, an archivist and activist who dedicated her life to serving our tribe, first through mentoring hundreds of tribal youth as the director of Youth Education and Activities, and later through perpetuating Anishinaabe traditions and culture as a PhD candidate studying Information Science from an Indigenous perspective. Her work was about reconfiguring the power dynamics at play in settler-colonial institutions that patronizingly manage Indigenous information, objects, and ancestral remains. In the middle of this work she died a painful, tragic, and preventable death at the hands of the American healthcare system, but the children she mentored and the children she made continue her work today.

She taught me that our movement towards liberation operates on the time scale of the land, something the colonizer cannot comprehend, let's use that knowledge.

Free the land
Free the people
FREE PALESTINE

follow:
@palestinianyouthmovement
@theimeu
@wizard_bisan1
@theslowfactory
@gazangirl
@wawog_now
@eye.on.palestine
@hiddenpalestine
@anat.international
@nouraerakat

On this National Day of Mourning, as genocidal violence rages on, I grieve and hope to honor my Anishinaabe Ancestors by standing in solidarity with the Palestinian people and their resistance to an ongoing genocidal settler-colonial occupation.

During this bleak moment I want to share a little bit about my Ancestors, to highlight the profound power of intergenerational resistance to settler-colonialism and movement towards liberation and self-determination.

Chief John Boucher (1832 - 1902), my great great great grandfather whose resistance against settler-colonial occupation contributed to my tribe's ability to narrowly avoid forced relocation and maintain a landbase and ceremonial practices in our traditional territories.

Allison Boucher Krebs (1951 - 2013), my Mother, John Boucher’s great great granddaughter, an archivist and activist who dedicated her life to serving our tribe, first through mentoring hundreds of tribal youth as the director of Youth Education and Activities, and later through perpetuating Anishinaabe traditions and culture as a PhD candidate studying Information Science from an Indigenous perspective. Her work was about reconfiguring the power dynamics at play in settler-colonial institutions that patronizingly manage Indigenous information, objects, and ancestral remains. In the middle of this work she died a painful, tragic, and preventable death at the hands of the American healthcare system, but the children she mentored and the children she made continue her work today.

She taught me that our movement towards liberation operates on the time scale of the land, something the colonizer cannot comprehend, let's use that knowledge.

Free the land
Free the people
FREE PALESTINE

follow:
@palestinianyouthmovement
@theimeu
@wizard_bisan1
@theslowfactory
@gazangirl
@wawog_now
@eye.on.palestine
@hiddenpalestine
@anat.international
@nouraerakat

Discourse deploys forces. Genocidal rhetoric creates genocidal realities. There are no savages, just cousins, more or less distant. CEASEFIRE NOW!!!

Discourse deploys forces. Genocidal rhetoric creates genocidal realities. There are no savages, just cousins, more or less distant. CEASEFIRE NOW!!!

Discourse deploys forces. Genocidal rhetoric creates genocidal realities. There are no savages, just cousins, more or less distant. CEASEFIRE NOW!!!

Discourse deploys forces. Genocidal rhetoric creates genocidal realities. There are no savages, just cousins, more or less distant. CEASEFIRE NOW!!!

"I love myself because I was born creative" - @obatheartistandamusician (who slayed at his first exhibition!)

Upper Peninsula Dreamachine