Born: Orange, California
Enrolled Luiseño Tribe
La Jolla Reservation, California
Died: New Orleans, Louisiana
University of California Irvine
SELECTED SOLO EXHIBITIONS
Rolando Castellón Gallery, San Francisco
James Luna, San Jose State University, California
San Diego State University
The Artifact Piece, Sushi Gallery, San Diego
Two Worlds, International Arts Relations Gallery, New York; Centro Cultural de la Raza, San Diego
On the Spiritual, Isaac Delgado Fine Arts Gallery, Delgado Community College, New Orleans
James Luna: Actions and Reactions, An Eleven Year Survey of Installation/Performance Work 1981–1992, Mary Porter Sesnon Art Gallery, University of California, Santa Cruz
Places for People to Meet, Art Awareness, Lexington, New York
The Sacred Colors, Galeria Posada, Sacramento, California
James Luna, Atlantic Center for the Arts, New Smyrna Beach, Florida
Two Multimedia Installations, Center for Contemporary Arts, Santa Fe
Indian Tales, Centro Cultural de la Raza, San Diego; The Center for Contemporary Arts, Santa Fe; Banff Centre, Banff, Alberta, Canada
Indian Tales: Stories of Native People from the Rez and Cities, National Museum of Natural History, Smithsonian Institution, Washington, D.C.
Sometimes It’s Not So Beautiful to Be an Indian, Intermedia Arts and Two Rivers Gallery, Minneapolis
The Red Album, Randolph Street Gallery, Chicago
Relocation Stories, Capp Street Project, San Francisco
New Basket Designs, Randolph Street Gallery, Chicago
The History of the Luiseño People: La Jolla Reservation, Christmas 1990, Memorial Art Gallery of the University of Rochester, New York
Indian Tales, Santa Barbara Contemporary Arts Forum, California; Humboldt State University, Arcata, California
James Luna, University of Colorado at Denver; University of Oklahoma, Norman
The Shameman, Art Awareness, Lexington, New York
The Sacred Colors, Real Art Ways, Hartford, Connecticut
Old Designs/New Messages, Pomona College Museum of Art, Montgomery Art Center, Claremont, California
The Shameman: My Way, Imagining Indians: Native American Film and Video Festival, Scottsdale Center for the Arts, Arizona; Detroit Institute of Arts, Michigan; Asheville Art Museum, North Carolina
James Luna: My Way, Cooper-Hewitt, National Design Museum, Smithsonian Institution, New York
My Way, SAW Gallery, Ottawa, Ontario, Canada
The Web of Life (with Palomar Choir and Chamber Singers), Palomar College, San Marcos, California
Tribal Identity: An Installation by James Luna, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
The Shameman, Walker’s Point Center for the Arts, Milwaukee, Wisconsin; New Mexico State University, Las Cruces
Tribal Identity, Schneider Museum of Art, Southern Oregon University, Ashland
The Dream Hat Ritual, Santa Monica Museum of Art, California
In My Dreams, Getty Center, Los Angeles, California; ATLATL Conference, Tulsa, Oklahoma; The Swiss Institute, New York; Siena Heights College, Adrian, Michigan
The Dream Hat Ritual, Sacred Circle Gallery, Seattle, Washington
Our Indians, Arizona State University, Tempe
Two Installations, Saddleback College, Mission Viejo, California
The Spirits of Virtue and Evil Await My Ascension, University of Wyoming, Laramie; The Fabric Workshop and Museum, Philadelphia
Our Indians, Florida State University, Tallahassee
Collage, Urban Institute for Contemporary Arts, Grand Rapids, Michigan
The Ballad of the Shameman and Betty Day Bird, Tozzer Library, Harvard University, Cambridge, Massachusetts
American Indian Studies, Georgia State University, Atlanta; Living Arts of Tulsa, Oklahoma
The Last Wild California Indian, Cleveland Public Theater, Ohio
The Last Wild California Indian and Collage, Hartwick College, Oneonta, New York
Outfits & Other Paraphernalia for Night Raids, California State University, San Marcos
The Ballad of the Shameman and Betty Day Bird, Mabee-Gerrer Museum of Art, Shawnee, Oklahoma
The Chapel of the Sacred Colors, Gordon Snelgrove Gallery, University of Saskatchewan, Saskatoon, Canada
American Indian Studies, National Museum of Wildlife Art, Jackson Hole, Wyoming; 7A*11d International Festival of Performance Art, Toronto, Ontario, Canada
Futuristic Native Outfits for Night Raids (and Other Paraphernalia), 911 Media Arts, Seattle, Washington
Petroglyphs in Motion [performance], SITE Santa Fe, New Mexico
James Luna, Porter Troupe Gallery, San Diego, California
Take a Picture with a Real Indian and Creation and Destruction of an Indian Reservation, Salina Art Center, Salina, Kansas
American Indian Studies, Washington State University, Pullman
American Indian Studies II, The Heard Museum, Phoenix, Arizona; University of California San Diego; University of California Santa Cruz
The Deadfall Revue, Institute of American Indian Arts Museum, Santa Fe, New Mexico
Subterranean Post Indian Blues, Idyllwild Arts, Idyllwild, California
Take a Picture with a Real Indian, Cornell University, Ithaca, New York
Petroglyphs in Motion [installation], de Saisset Museum, Santa Clara University, California
The Sun and Moon Blues, Banff Centre, Banff, Alberta, Canada
Artists on the Cutting Edge: Cross Fertilizations Series, Museum of Contemporary Art San Diego
Take a Picture with a Real Indian/The Sun and Moon Blues, University of Essex, Colchester, United Kingdom
James Luna: Emendatio, Venice Biennale, June 12– November 6
I CON, Mesa College Art Gallery, San Diego, March 17–April 16
James Luna: Take a Picture with a Real Indian, Garth Greenan Gallery, New York, September 10–December 19
SELECTED GROUP EXHIBITIONS
Carl N. Gorman Museum, University of California, Davis
Native American Art Exhibit for the Governor of California, California State Capitol Building, Sacramento
Native American Art, American Indian Studies Department, San Diego State University, California
Carl N. Gorman Museum, University of California, Davis
Made in Aztlan, Centro Cultural de la Raza, San Diego, California
Hippodrome Gallery, Long Beach, California
He’s Resting Now, Centro Cultural de la Raza, San Diego, California
Arts and Culture Show, Public Arts Advisory Council, San Diego
En Memoria, Centro Cultural de la Raza, San Diego
Street Sets, Sushi Gallery, San Diego
Up Tiempo!, El Museo del Barrio/Creative Time, New York
California Mission Daze, Installation Gallery, San Diego, California
Native American Art in the ‘80s, University of California, Riverside
The Decade Show: Frameworks of Identity in the 1980s, The Studio Museum in Harlem, New York, in collaboration with the New Museum of Contemporary Art and the Museum of Contemporary Hispanic Art
Art History/AA Meeting, Atlanta College of Art, Georgia
Disputed Identities, San Francisco Camerawork, California
California Mission Daze, California Indian Conference, Riverside
The Tell Tale Heart, Washington Project for the Arts, Washington, D.C.
2 Worlds, American Indian Community House Gallery, New York
Cultural Diversity in American Theater, University of California, San Diego
Facing the Finish: Some Recent California Art, San Francisco Museum of Modern Art, California
Encuentro: Invasion of the Americas and the Making of the Mestizo, Social and Public Art Resource Center Gallery, Venice, California
SITEseeing: Travel and Tourism in Contemporary Art, Whitney Museum of American Art, New York
Shared Visions: Native American Painters and Sculptors in the Twentieth Century, Heard Museum, Phoenix, Arizona; Eiteljorg Museum of American Indians and Western Art, Indianapolis, Indiana
Disputed Identities, California Museum of Photography, University of California, Riverside; Presentation House Gallery, North Vancouver, British Columbia
Selected Works 1990–91, Palomar College, San Marcos, California
Contemporary American Indian Art, San Bernardino County Museum, Redlands, California Indigenous America: Honoring Our Heritage, University of California, San Diego
Counter-Colonialismo, Centro Cultural de la Raza, San Diego, California
San Francisco Arts Commission Public Art Program, Yerba Buena Center for the Arts, California
Submuloc Show/Columbus Wohs, ATLATL Traveling Exhibition, Phoenix, Arizona
Sites of Recollection: Four Altars and a Rap Opera, Williams College Museum of Art, Williamstown, Massachusetts; Museum of the National Center of Afro-American Artists, Boston, Massachusetts
Body Takes, Toronto Photographers Workshop, Ontario, Canada
Land, Spirit, Power: First Nations at the National Gallery of Canada, Ottawa, Ontario
As Public As Race, Walter Phillips Gallery, Banff Centre, Banff, Alberta, Canada
The Alcove Show, Museum of Fine Arts, Santa Fe, New Mexico
Kísh Tétayawet Wampkísh (Dream House) with Lewis deSoto, Mesa College Art Gallery, San Diego, California
Shared Visions: Native American Painters and Sculptors in the Twentieth Century, Portland Art Museum, Oregon; Gilcrease Museum, Tulsa, Oklahoma
The People Themselves: Native American Photography, Los Angeles Photography Center, California
Message Carriers: Contemporary Photography by Native American Artists, Photographic Resource Center, Boston University, Massachusetts
Native America: Reflecting Contemporary Realities, Craft and Folk Art Museum, Los Angeles, California
Facing the Finish: Some Recent California Art, Art Center College of Design, Pasadena, California
Counterweight: Alienation, Assimilation, Resistance, Santa Barbara Contemporary Arts Forum, California
The Sacred Colors, University of Arizona, Tucson
1993 Biennial Exhibition, Whitney Museum of American Art, New York
Sites of Recollection: Four Funerals and a Rap Opera, Memorial Art Gallery of the University of Rochester, New York; Dayton Art Institute, Museum of Contemporary Art at Wright State University, Dayton, Ohio
San Diego Artists from the Collection of the Museum of Contemporary Art, San Diego, Boehm Gallery, Palomar College, San Marcos, California
This Is Not a Multicultural Show, St. Lawrence University, Canton, New York
Shared Experiences/Personal Interpretations: Seven Native American Artists, Sonoma State University Art Gallery, Rohnert Park, California
The Shameman Meets El Mexican’t at the Smithsonian Hotel and Country Club (with Guillermo Gómez-Peña), National Museum of Natural History, Smithsonian Institution, Washington, D.C.
42nd Street Project, Creative Time, New York
The Shameman Meets El Mexican’t and the CyberVato in Chicago in Search of Their Lost Identities (with Guillermo Gómez-Peña and Roberto Sifuentes), Mexican Fine Arts Center Museum, Chicago
The Shameman and El Mexican’t Meet the CyberVato at the Ethno-CyberPunk Trading Post & Curio Shop on the Electronic Frontier (with Guillermo Gómez-Peña and Roberto Sifuentes), DiverseWorks Art Space, Houston, Texas
Continuity & Contradiction: A New Look at the Permanent Collection, Museum of Contemporary Art San Diego, California
Re: public/Listening to San Diego, Museum of Photographic Arts, San Diego, California
Scene of the Crime, Armand Hammer Museum of Art and Culture Center, University of California Los Angeles, California
Identity Crisis: Self-Portraiture at the End of the Century, Milwaukee Art Museum, Wisconsin
Changing Spaces, University of Colorado at Boulder, Colorado
In My Dreams, Western Front, Vancouver, British Columbia, Canada
Collage: Thoughts, Dreams, and Hallucinations, Arizona State University, Tempe; Institute of American Indian Arts Museum, Santa Fe, New Mexico; TRIBE, Saskatoon, Saskatchewan, Canada
Sex and Shamanism: The Seduction of Stereotypes and Misrepresentations of Native Peoples, Carl N. Gorman Museum, University of California, Davis
Dimensions of Native America: The Contact Zone, Museum of Fine Arts, Florida State University, Tallahassee
Side Streets Projects, Santa Monica, California
Made in California: Art, Image, and Identity, 1900–2000, Los Angeles County Museum of Art
The Chapel of the Sacred Colors, LewAllen Contemporary, Santa Fe, New Mexico
The Road to Aztlan: Art from a Mythic Homeland, Los Angeles County Museum of Art
Staging the Indian: The Politics of Representation, Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York
Alter-Native Dialogues, Nippon International Performance Art Festival, Tokyo, Japan
Native Views: Influences of Modern Culture, Artrain USA touring exhibition
Into the Sunset: Photography’s Image of the American West, Museum of Modern Art, New York, March 29–June 8
When I Remember I See Red, Autry Museum of the American West, Los Angeles, September 25, 2020–January 3, 2021
Cousins and Kin, San Francisco Cinematheque, San Francisco, April 16–May 15
Proof of Stake – Technological Claims, Kunstverein in Hamburg, Germany, September 4–November 11
Museum of Contemporary Native Arts, Institute of American Indian Arts, Santa Fe
Museum of Contemporary Art, San Diego
National Gallery of Art, Washington D.C.
National Museum of the American Indian, Smithsonian Institution, Washington, D.C.
Barron, Stephanie, Sheri Bernstein, and Ilene Susan Fort. Made in California: Art, Image, and Identity, 1900–2000. Los Angeles: Los Angeles County Museum of Art, 2000.
Burnham, Frye and Steven Durland, eds. The Citizen Artist: 20 Years of Art in the Public Arena: An Anthonology from High Performance Magazine, 1978–1998. Gardiner, NY: Critical Press, 1998.
Buskirk, Martha. The Contingent Object of Contemporary Art. Cambridge: MIT Press, 2003.
Counterweight: Alienation, Assimilation, Resistance. Santa Barbara: Santa Barbara Contemporary Arts Forum, 1992.
Cardinal-Schubert, Joane, Kerri Sakamoto, and Larissa Lai. As Public and Race: Margo Kane, James Luna, Paul Wong. Banff: Walter Phillips Gallery, Banff Centre, 1993.
Castillo, Edward D. and Michael Schwager. Shared Experiences/Personal Interpretations: Seven Native American Artists. Rohnert Park: University Art Gallery, Sonoma State University, 1994.
Davies, Hugh Marlais and Ronald J. Onorato, ed. Blurring the Boundaries: Installation Art, 1969–1996. San Diego: Museum of Contemporary Art, 1997.
Dimensions of Native America: The Contact Zone. Tallahassee: Florida State University, Museum of Fine Arts, School of Visual Arts and Dance, 1998.
Dubin, Margaret. Native America Collected: The Culture of an Art World. Albuquerque: Univresity of New Mexico Press, 2001.
Dubin, Margaret. The Dirt is Red Here: Art and Poetry from Native California. Berkeley: Heyday Boooks, 2002.
Facing the Finish: Some Recent California Art. Los Angeles: San Francsico Museum of Modern Art and Fellows of Contemporary Art, 1991.
Fields, Virginia M. The Road to Aztlan: Art from a Mythic Homeland. Los Angeles: Los Angeles County Museum of Art, 2001.
Glancy, Diane and Mark Nowak, eds. Visit Teepee Town: New Writings After the Detours. Minneapolis: Coffee House Press, 1999.
Gómez-Peña, Guillermo. Dangerous Border Crossers: The Artist Talks Back. London: Routledge, 2000.
James Luna: Actions and Reactions, An Eleven Year Survey of Installation/Performance Work, 1981–1992. Santa Cruz: Mary Porter Sesnon Art Gallery, University of California, Santa Cruz, 1992.
Johnson, Lorraine, ed. Body Takes: Deborah Bright, James Luna, Chuck Samuels, Jin-me Yoon. Toronto: Toronto Photographers Workshop: 1992.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Kiendl, Anthony, ed. Obsession, Compulsion, Collection: On Objects, Display Culture, and Interpretation. Banff: Banff Centre Press: 2004.
Lacy, Suzanne, ed. Mapping the Terrain: New Genre Public Art. Seattle: Bay Press, 1995.
LaPena, Frank, Mark Dean Johnson, and Kristina Perea Gilmore, eds. When I Remember I See Red. Sacramento: Crocker Art Museum, 2019.
Lippard, Lucy. Mixed Blessings: New Art in a Multicultural America. New York: Pantheon Books, 1990.
Lippard, Lucy. On the Beaten Track: Tourism, Art, and Place. New York: New Pres, 1999.
Lippard, Lucy. The Lure of the Local: Senses of Place in a Multicentered Society. New York: New Press, 1997.
Mandle, Julia Barnes and Deborah Menaker Rothschild. Sites of Recollection: Four Altars and a Rap Opera. Williamstown: Williams College Museum of Art, 1992.
Nemiroff, Diana, Robert Houle, and Charlotte Townsend-Gault. Land, Spirit, Power: First Nations at the National Gallery of Canada. Ottawa: National Gallery of Canada, 1992.
Red River Crossings: Contemporary Native American Artists Respond to Peter Rindisbacher (1806–1834). New York: The Swiss Institute, 1996.
Roalf, Peggy, ed. Strong Hearts: Native American Visions and Voices. New York: Aperture, 1995.
Rushing III, W. Jackson. Native American Art in the Twentieth Century: Makers, Meanings, Histories. London: Routledge, 1999.
Sarris, Greg, ed. The Sound of Rattles and Clappers: A Collection of New California Indian Writings. Tucson: University of Arizon Paress, 1994.
Sobel, Dean. Identity Crisis: Self-Portraiture at the End of the Century. Milwaukee: Milwaukee Art Museum, 1997.
Sweet, Jill D and Ian Berry. Staging the Indian: The Politics of Representation. Saratoga Springs: Tang Teaching Museum and Art Gallery at Skidmore College, 2001.
The Tell Tale Heart: Ken Little, James Luna, Judy Southerland, Pat Ward Williams. Washington, D.C.: Washington Project for the Arts, 1990.
Tribal Identity: An Installation by James Luna. Hanover: Dartmouth College, 1995.
Two Worlds: James Luna. New York: INTAR Gallery, 1989.
Warr, Tracey and Amelia Jones, eds. The Artist’s Body. London: Phaidon Press Limited, 2000.
Blocker, Jane. “Failures of Self-Seeing: James Luna Remembers Dino.” PAJ: A Journal of Performance and Art 67 (2001): 18–32.
Blondeau, Lori and Bradlee Larocque. “Surreal, Post-Indian Subterranean Blues.” Mix: The Magazine of Artist-Run Culture 23, no. 3 (Winter 1992): 46–53.
“Body Takes,” Toronto Globe and Mail Metro Edition, June 26, 1992: D8.
Boyce, Roger. “James Luna ‘Makes Do’ at the ICA Theater.” Art New England 20, no. 4 (June/July 1999): 14.
Breslauer, Jan. “Performance Artist Luna Takes Another Road.” Los Angeles Times, December 11, 1991: F4, F12.
Champman, Steven, Susan Jeffrey, and Ruth Denny. “Art of the People.” Art Paper 12, no. 3 (November 1992): 9–11.
Chattopadhyay, Collette. “James Luna.” Sculpture 15, no. 9 (November 1996): 58–59.
Dubin, Margaret. “High-Tech Peace Pipe: An Interview with James Luna.” News from Native California 14, no. 3 (Spring 2001): 35–36.
Durland, Steven. “Call Me in ’93: An Interview with James Luna.” High Performance 14, np. 4 (Winter 1991): 34–39.
Fernandez-Sacco, Ellen. “Check Your Baggage: Resisting Whiteness in Art History.” Art Journal (Winter 2001): 59–61.
Fisher, Jean. “In Search of the Inauthentic: Disturbing Signs in Contemporary Native American Art.” Art Journal 51, no. 3 (Fall 1992): 44–50.
Geer, Suvan. “James Luna at the Santa Monica Museum of Art.” Artweek 27 (August 1996): 21.
Harlan, Theresa, Lee Marmon, and Maggie Steber. “Creating a Visual History: A Question of Ownership.” Aperture 139 (Spring 1995): 20–33.
Harper, Glenn. “The Hanged Sparrow: Post Utopian Art.” Art Papers 20, no. 1 (January–February 1996): 30–33.
Hawley, Elizabeth S. “James Luna nd the Paradoxically Present Vanishing Indian.” Contemporaneity 5, no. 1 (2016): 6–26.
Jackinsky-Sethi, Nadia. “Joel Isaak: Dena’ina Interdisciplinary Artist.” First American Art Magazine, no. 29 (2021): 63–64.
LeBeau, Eleanor. “James Luna.” Art Papers 32, no. 4 (2008): 69.
Luna, James. “Allow Me to Introduce Myself: The Performance Art of James Luna.” Canadian Theatre Review 68 (Fall 1991): 46–47.
Luna, James. “I’ve Always Wanted to be an American Indian.” Aperture 139 (Spring 1995): 38–41.
———. “I’ve Always Wanted to be an American Indian.” Art Journal 51, no. 3 (1992): 18–27.
Marks, Laura U. “James Luna, Santa Monica Museum of Art.” Artforum 35 (October 1996): 123.
Martin, Linda R. “James Luna.” Native Peoples 10, no. 3 (Spring 1997): 96.
Miller, Betsy. “Multiple Personality: James Luna at UC Santa Cruz.” Artweek 23, no. 30 (1992): 20.
Morris, Gay. “Pro Arts Gallery, Oakland, California.” Art in America 82 (July 1994): 102–103.
Naming, Victoria. “Performance Art: James Luna.” MAVIN, no. 5 (2001): 59.
Ollman, Leah. “Confronting All the Demons; James Luna Deals Candidly with the Alcoholism, Violence and Bad Health Plaguing Many Native Americans.” Los Angeles Times, June 16, 1996
Reed, Victoria. “Traversing Borders.” Artweek 22 (April 11, 1991): 10.
Robertson, Sheila. “Artist Lampoons Cultural Stereotype.” Saskatoon Star Phoenix, October 18, 1997: B362.
Rushing, W. Jackson and Kay WalkingStick, eds. “Special Issue: Recent Native American Art.” Art Journal 51, no. 3 (Fall 1992): 6–80.
Solnit, Rebecca. “The Postmodern Old West, or the Procession of Cowboys and Indians, Part II: Indians, or Breaking Out of the Picture.” Art Issues 45 (November–December 1996): 26–31.
Supahan, Nisha. “Absurd Magic.” News from Native California 9, no. 3 (Spring 1996): 42.
Tama, Jose Torres. “Healing with Humor: New American Perspectives from James Luna and Dan Kwong.” Art Papers 35, no. 5 (September–October 2001): 17.
“The Road to Aztlan: Art from a Mythic Homeland.” MAVIN 5 (2001).
Taylor, Kate. “Clever Barbs that Hit the Mark.” Toronto Globe, June 26, 1992.
Yau, John, “How James Luna Exposed the Mechanisms of American Racism”, Hyperallergic, October 10, 2020.