WHAT THE CRITICS SAY

“In historic collections of Native art, traces of cross-cultural influence abound. Marcus Amerman’s ‘Postcard’, worked in glass seed beads and measuring 11 x 17 inches, perpetuates this tradition of adaptation for purposes of political protest that is no less incendiary for being low-key: The message on the card reads ‘Greetings from the Indian Country of the Great Southwest,’ but featured in the billboard-style lettering are images of a man on the moon, fighter jets in formation, the exploding atomic bomb.”
From, “Native American Art Amid the Manifestos” in the Wall Street Journal newspaper
by Matthew Gurewitsch, January 4, 2006

“Marcus Amerman, Choctaw, uses traditional Indian crafts and also high fashion to generate thoughts on all manner of things. The surprise is intense. The last thing we expect from a dress or an adorned shield is political meaning. This is supposed to be safe art that wil not disturb with edgy ideas of violence, horror and discrimination. Amerman’s Road Warrior Shield, an automobile hubcap covered with buttons about Hiroshima, Tiananmen Square, international human rights, multicultural education and Indian rights cast the drive for Indian rights into a world-wide context while the polished turquoise, the feathers, the exquisite bead work position Amerman’s art in the tradition of fine Indian crafts. This fresh juxtaposition of craft and ideas reminds us that behind the artwork of Indians is a dense story of cultural richness as well as violence and conflict.”
From “Western Art: Them’s Fighting Words” in West of Everywhere exhibition catalog
by Bruce Richardson, Ph.D, January 2006

“Marcus Amerman is one of the few who engage in direct social commentary with ‘Killer Necklace,’ where beads, historically tied to the unfair trade of Manhattan, are stitched in a necklace along with bear claws.”
From “Two New Exhibits Showcase Native American Glass Artists,” in Seattle Times newspaper
by Lucia Enriquez, October 18, 2005

“These days plenty of contemporary works address those stereotypes head on ... In ‘Iconoclash,’ Marcus Amerman’s ‘Something Wicked’ depicts a train pulling cargo that includes Buffalo Bill, the Lone Ranger and Tonto, and the American flag, among other objects and personalities. In the foreground, buffalo are scattering in fear. ‘The train is just American culture coming into this continent and all the things good, bad and strange it brings,’ the artist said in an interview.”
From “A New Dawn for Native American Art Museums” in the New York Times newspaper
by Joshua Brockman, August 20, 2005

“Known mainly for his adjective-defying pictorial beadwork, Amerman has moved the genre into unprecedented realms, upping the standards in skill, splendor and subject matter... Amerman’s work, whether painted, beaded or sewn, is saturated with color and distinguished by his often slyly ironic or satirical sensibilities.”
From “Marcus Amerman: Bedazzling Beader” in Native Peoples magazine
by Rosemary Diaz, July/August 2002

“Portraiture is difficult enough in any media, but Amerman’s ability to capture a precise likeness with nothing more than thousands of multicolored beads strikes many of his collectors as extraordinary.”
From “Marcus Amerman: Bead by Bead the Artist Creates Incredibly Detailed Images” in Southwest Art magazine,
by Dottie Indyke, January 2001

“Marcus brings together two seemingly different subjects to create a new image that makes the viewer think and see an idea as never before.”
From Contemporary American Indian Beadwork,
by Jill Alden, 1999

“Beadwork, as a symbol of ancient Indian traditions now degraded, is very much part of the show. Take Marcus Amerman’s (Choctaw) ‘Iron Horse Jacket’ of 1993. On the back of a nail-studded black leather motorcycle jacket, he has embroidered a kitschy rendition of Brooke Shields, something of an innovation in that the tiny beads, traditionally used in abstract patterning, here create a realistic image. The presence of this sole white pop culture figure also suggests, in a roundabout way, the absence of Indians in the mass media.”
From “From the Wry Side of American Indian’s Clash With Whites” in the New York Times
by Grace Glueck, June 26, 1998

“Since Marcus Amerman encountered beads, neither Amerman nor beads have been the same. A common response upon viewing his meticulously worked portraits, canvases and high fashion apparel is, ‘That’s beadwork? Wow.”... masterful creations full of vibrancy, color, and complexity-beadwork in motion, with a rich visual vocabulary-truly extraordinary work that weaves history into a ground-breaking, forward looking aesthetic, often with a wry, satirical touch.”
From “Indian Market People” in Indian Market Magazine,
Author unknown, August 1996