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Epochs in Plains History; Mother Earth, Father Sun, The Children
Epochs in Plains History; Mother Earth, Father Sun, The Children
Epochs in Plains History; Mother Earth, Father Sun, The Children

Epochs in Plains History; Mother Earth, Father Sun, The Children

Artist T. C. Cannon
MediumAcrylic, oil on canvas
Dimensions96 x 240 x 2 in. (243.8 x 609.6 x 5.1 cm)
ClassificationsPainting
Credit LineSeattle City Light 1% for Art funds
One of the most influential, innovative, and talented Native American artists of the 20th-century, T.C. Cannon embodied the activism, cultural transition and creative expression that defined America in the 1960’s and ‘70s. Cannon’s work — as an artist, poet, and aspiring musician — is deeply personal yet undeniably political, reflecting his cultural heritage, experience as a Vietnam War veteran, and the turbulent social and political period during which he worked. Cannon preferred bold color combinations, mash-ups between Native and non-Native elements and never shied away from the complexity and nuance of identity politics. Cannon interrogated American history and popular culture through his Native lens, and exercised a rigorous mastery of Western art historical tropes while creating an entirely fresh visual vocabulary. 
 
Among Cannon’s final works is Epochs in Plains History; Mother Earth, Father Sun, The Children (1976-77), completed one year before his death. At an expansive twenty-two feet long, the mural is also his most monumental. Commissioned by the City of Seattle, Epochs in Plains History, is a visual journey through Plains Indian culture and history form the beginning of time through today. Cannon explained that the theme of this mural concerned the religious and social epochs in Kiowa, Comanche, Cheyenne, and Arapaho histories, covering hundreds of generations of Native people on the Southern Plains:

Starting from the left edge, the painting is a dark, partially lit by a hundred-mile prairie fire and an ancient moon under which traipses a small clan of the old people. They are lost in darkness and superstition, but their land before them is lit by a holy light . . . emanating from the large figure of Mother Earth throwing out gifts of buffalo and medicine. The right side of the panel contains three major figures, the first being a sun dancer; the second a Kiowa peyote man, and the third, a gourd dancer who dances off the panel’s right edge.