Dyani White Hawk
Minneapolis, Minnesota
Dyani White Hawk received the Creative Capital Award in 2024. Dyani White Hawk (Sičáŋǧu Lakota) is a multi-disciplinary artist based in Minneapolis, Minnesota. White Hawk earned a MFA from the University of Wisconsin-Madison (2011) and BFA from the Institute of American Indian Arts in Santa Fe, New Mexico (2008). She served as Gallery Director and Curator for the All My Relations Gallery in Minneapolis from 2011-2015. Support for White Hawk’s work has included 2023 John D. and Catherine T. MacArthur Foundation Fellowship, 2021 Anonymous Was a Woman Award, 2021 Academy of Arts and Letters Award, 2021 and 2013 McKnight Foundation Fellowships, 2019 United States Artists Fellowship in Visual Art, 2018 Nancy Graves Grant for Visual Artists, 2017 and 2015 Native Arts and Cultures Foundation Fellowships and 2014 Joan Mitchell Foundation Painters and Sculptors Grant. She has participated in residencies in Australia, Russia, and Germany. Her work is in the collections of the Museum of Modern Art NYC, Whitney Museum of American Art, Solomon R. Guggenheim Museum, Walker Art Center, Crystal Bridges Museum of American Art, Pennsylvania Academy of the Fine Arts Museum, Denver Art Museum, Minneapolis Institute of Art, Smithsonian National Museum of the American Indian, among other public and private collections. She is represented by Bockley Gallery in Minneapolis and VSF Gallery in Los Angeles.
Love Language: see, honor, nurture, celebrate
Dyani White Hawk (Sičáŋǧu Lakota) is a multidisciplinary artist based in Minneapolis, Minnesota.
Artist BioLove Language: see, honor, nurture, celebrate is scheduled to open at the Walker Art Center in October, 2025. This expansive survey exhibition will including paintings, works on paper, video installation, glass mosaics, sculpture, and furnishings to create an encompassing and nurturing environment. Carefully considering the long history of exclusion of contemporary Native art in mainstream American and global art institutions, as well as pain experienced by the Native community in relationship to the Walker in recent years, the exhibition is envisioned as an action of reasserting agency and belonging in a museum situated on Dakota homelands and home to a large urban inter-tribal Native community and diverse metropolitan area.
