Jackson Polys

Jackson Polys

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Most Known for...

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The Violence of a Civilization without Secrets 2018 (6)

An urgent reflection on indigenous sovereignty, the undead violence of museum archives, and postmortem justice through the case of the "Kennewick Man," a prehistoric Paleo-American man whose remains were found in Kennewick, Washington, in 1996.
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Culture Capture: Terminal Adddition 2019

Half tongue-in-cheek absurdism and half deadly earnest, CULTURE CAPTURE: TERMINAL ADDDITION continues the New Red Order’s ongoing project of “culture capture,” recruiting viewers to participate in a program of practical strategies to counter the “salvage mindset,” which sets aside Indigenous culture and sovereignty by consigning it to the past. These strategies include using new, accessible technologies, such as smartphone apps that produce 3D scans of objects, both of Indigenous material that museums and other institutions may hold and public monuments that celebrate and re-affirm the norms of European settler culture.
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Culture Capture: Crimes Against Reality 2020

Culture Capture: Crimes Against Reality morphs monuments into metastasizing flesh via ritualized photogrammetric capture and virtual manipulation, clearing space for Indigenous futures. The piece literalizes the violence of settler-colonial propaganda and features high-profile monuments such as the equestrian Theodore Roosevelt statue which stood in front of AMNH in New York City and End of the Trail, both created by American sculptor James Earle Frasier. The video mines the archive of Frasier, going beyond simple iconoclasm to probe deeper, investigating desires for indigeneity that motivated the artist, desires that continue to pervade the myths, dreams, and political foundations of the so-called americas.