Ben Pease
“My expressions of existence examine narratives shaped by the invention of the “West,” aiming to understand history while recognizing the enduring power and vitality that continue to shape our present.” —Ben Pease
Crow/Northern Cheyenne artist Ben Pease stands firmly upon the ideal of education via creativity, as a contemporary storyteller. He and his family are currently residing in Billings, MT, USA.
Pease's work is well known for its unique and culturally relevant style using historic photographic references while also touching on current events and issues simultaneously. You may have seen his use of both antique and contemporary items collaged into his work to create literal and conceptual reference points.
As minorities in the world of Art, contemporary Indigenous artists are confronting issues like cultural appropriation, exotification, racism and stereotype disguised as appreciation and oblivion. Pease's work continually yet respectfully asks how & why?
"Many times, the question is more important than the answer. What really matters, is the path."
Exploration & Knowledge are the driving force behind the Artist's creativity.
Keep your eye on this Artist for years to come.
Read some fabulous press about Ben in Mountain Living Magazine
AVAILABLE WORKS
Antique wool U.S. Medical Corps, cattle marker glass beads, cotton fabric
86” x 65”
Hudson’s Bay 3.5 bar wool blankets adorning beaded trade beads, cotton giveaway cloth, and cattle marker oil sticks
80” x 64”
Mixed media
36” x 24”
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.
1910’s Sears Catalogue Sheets, acrylic, digital rendering on exhibition rag on canvas, 2018
29” x 23”
36” x 48”
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 Was 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.
Chief Two Moons, Northern Cheyenne, Acrylic, Mixed media on canvas
40" x 30”
Acrylic, India ink, alcohol based Ink on cold pressed cotton, 2017
7” x 5”
Acrylic, oil pastel, giclee on platine fibre rag on canvas. 2016, updated 2023
36” x 36”
1905 ledger paper, acrylic, alcohol based marker, digital painting, digital print on baryta paper, on canvas, 2016
30” x 40”
Acrylic, inkjet on velvet paper, ink, antique ledger paper, antique fruit label, antique water bond
36” x 48”
Inkjet on Velvet Rag, acrylic medium, antique paper ephemera. Original photo by Margery Pease Chichiáxxaawasuua (Crow Fair) circa 1968
30" x 24"
Sold Works
