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ben
pease
Portfolio
All works listed are available for acquisition. Send all artwork inquiries to info@benpeasevisions.com
“This is Not An Indian”
Oil on Canvas
40”x30”
40”x30”
“Half-Price, This Weekend Only”
Oil on Canvas
48”x36”
(Medicine Lodges Series)
48”x36”
(Medicine Lodges Series)
“Gifts from Creator, In Washington”
Ink & Colored Pencil on 1897 Montana Ledger paper
11”x11”
11”x11”
Apsáalooke Women's Work Bag
Oil on canvas
60"x48" 2022
60"x48" 2022
ihkaléaxe at Night
White Man Runs Him, known as “Morning Star,” embodies a nuanced chapter in American history, particularly highlighting the role of stereotypes in shaping perceptions of Native American tribes. His alignment with General Custer as a scout during the Plains Indian Wars is a reflection of the Crow people’s historically friendly disposition towards outsiders. However, this openness, in the context of broader Native American relations with the U.S. government and military, has sparked debates about loyalty and identity within and outside Native communities.
The Crow’s willingness to engage with non-Native entities often led to stereotyping, casting them in a singular light that didn’t fully encompass the complexity of their motivations and actions. This oversimplification has contributed to divisive tribalism, overshadowing the nuanced realities of their choices and alliances. Morning Star’s story, therefore, is not just about personal resilience and adaptability; it’s also a commentary on the impact of stereotypes in shaping the history and intertribal relations of Native Americans.
His legacy raises important questions about the interpretation of historical actions and the long-standing consequences of how Native American tribes are perceived and judged based on their responses to colonization and change. Morning Star’s journey thus serves as a focal point for understanding the intricate dynamics of tribal relations, the weight of stereotypes, and the ongoing dialogue about identity and survival within the diversity Native American Nations.
The Crow’s willingness to engage with non-Native entities often led to stereotyping, casting them in a singular light that didn’t fully encompass the complexity of their motivations and actions. This oversimplification has contributed to divisive tribalism, overshadowing the nuanced realities of their choices and alliances. Morning Star’s story, therefore, is not just about personal resilience and adaptability; it’s also a commentary on the impact of stereotypes in shaping the history and intertribal relations of Native Americans.
His legacy raises important questions about the interpretation of historical actions and the long-standing consequences of how Native American tribes are perceived and judged based on their responses to colonization and change. Morning Star’s journey thus serves as a focal point for understanding the intricate dynamics of tribal relations, the weight of stereotypes, and the ongoing dialogue about identity and survival within the diversity Native American Nations.
Keeper of Time and Place- Thunderbird Shield
This contemporary Apsaalooke war shield, crafted by a great-great-grandson of White Man Runs Him, stands as a profound exploration of evolving Indigenous identity and the creation of new forms of 'medicine' within contemporary indigenous communities. White Man Runs Him, known as "Morning Star," was a scout for General Custer during the Plains Indian Wars, a time of significant cultural upheaval for Native Americans. His life was a testament to resilience and adaptability, qualities that resonate in this modern interpretation of traditional Apsaalooke symbols.
Composed of buffalo hide, ermine skins, imitation hawk feathers, brass, wool, earth paint, and integrated with modern elements like an iPad, speaker, and neon light, the shield, approximately 36”x42”x8”, draws inspiration from the sacred Thunderbird medicine teepee of White Man Runs Him. This innovative blend of materials and technologies symbolizes the ongoing evolution of Indigenous practices and beliefs, suggesting new possibilities for 'medicine' in the context of contemporary culture. It speaks to a dynamic reimagining of Indigenous spirituality and knowledge, where tradition and modernity coexist and interact.
Displayed in a major exhibition and featured on the exhibition publication of the same name “Apsaalooke Women & Warriors”, commissioned by the Neubauer Collegium at the University of Chicago, this artwork raises the question: Is there room for redefining what it means to be a 'real Indian' in today's world? It challenges the notion of static cultural identity, suggesting that being Indigenous is not confined to historical parameters but is a living, evolving experience. This piece is a vivid embodiment of the idea that Indigenous communities can create new forms of 'medicine' — physical, spiritual, and cultural — that are rooted in tradition yet reflective of contemporary realities. The shield is not only a tribute to the legacy of White Man Runs Him but also a statement on the vitality and creativity inherent in Indigenous cultural expression, affirming the capacity to forge new paths while honoring ancestral roots.
Composed of buffalo hide, ermine skins, imitation hawk feathers, brass, wool, earth paint, and integrated with modern elements like an iPad, speaker, and neon light, the shield, approximately 36”x42”x8”, draws inspiration from the sacred Thunderbird medicine teepee of White Man Runs Him. This innovative blend of materials and technologies symbolizes the ongoing evolution of Indigenous practices and beliefs, suggesting new possibilities for 'medicine' in the context of contemporary culture. It speaks to a dynamic reimagining of Indigenous spirituality and knowledge, where tradition and modernity coexist and interact.
Displayed in a major exhibition and featured on the exhibition publication of the same name “Apsaalooke Women & Warriors”, commissioned by the Neubauer Collegium at the University of Chicago, this artwork raises the question: Is there room for redefining what it means to be a 'real Indian' in today's world? It challenges the notion of static cultural identity, suggesting that being Indigenous is not confined to historical parameters but is a living, evolving experience. This piece is a vivid embodiment of the idea that Indigenous communities can create new forms of 'medicine' — physical, spiritual, and cultural — that are rooted in tradition yet reflective of contemporary realities. The shield is not only a tribute to the legacy of White Man Runs Him but also a statement on the vitality and creativity inherent in Indigenous cultural expression, affirming the capacity to forge new paths while honoring ancestral roots.
White-Man-Runs-Him, A Man’s Worth.
This painting of White Man Runs Him, "Morning Star," adorned with the War-Eagle or Thunderbird medicine, celebrates the enduring Apsaalooke traditions. Passed down from his father, Bull-Chief, this sacred symbol embodies strength and spiritual connection, central to Apsaalooke beliefs. Created by a direct descendant who shares this ancestral legacy, the artwork honors the continuity and power of these spiritual practices within the Apsaalooke community.
Parading Through Time
Collaboration with Marge Pease, the artist’s grandmother, a photographer for 70+ years. Crow Fair Circa 1965. This painting features some of the Pease men(Ben Pease Jr. & brother Oliver Pease) dancing on a truck flat-bed with their sons while a drum group is seated behind them.
Acrylic, mixed antique paper ephemera on canvas.
24”x30”. 2019. Available for Acquisition.
Acrylic, mixed antique paper ephemera on canvas.
24”x30”. 2019. Available for Acquisition.
Prided Predjudice
Acrylic, Oil, Digital painting print on platine fibre rag on canvas.
48"x48" 2019.
Any questions or interests can be address directly to the Artist at art@benpeasevisions.com
48"x48" 2019.
Any questions or interests can be address directly to the Artist at art@benpeasevisions.com
“Old-Time Wise Men”
Acrylic, inkjet on velvet paper, Ink, antique ledger paper, antique fruit label, antique water bond
36”x48”
36”x48”
Iichíilixaxxish
Acrylic, oil pastel, giclee on platine fibre rag on canvas. 2016, updated 2023. 36”x36”. Available for Acquisition.
“Ishbilaxpáake” Barney Old Coyote Sr. and Mae OldCoyote and their eldest son, Hank/Henry Old Coyote.
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