Will Wilson
Auto Immune Response/Survey 12020

Not on view

No image

Artist or Maker: Will Wilson
Dineꞌ, California, San Francisco, born 1969, active Santa Fe, NM
Title: Auto Immune Response/Survey 1
Date Made: 2020
Medium: Inkjet print (pigment based)
Dimensions: Image: 32 11/16 × 78 1/8 in. (83.03 × 198.44 cm) Primary support: 43 7/8 × 89 in. (111.44 × 226.06 cm)
Credit Line: Purchased with funds provided by the Ralph M. Parsons Fund
Accession Number: M.2023.109
Classification: Photographs
Collecting Area: Photography
Curatorial Notes: As a Diné (Navajo) photographer, Will Wilson centers his work around the impact of cultural and environmental change on Indigenous peoples and the possibility of cultural renewal. In the series Auto Immune Response, he tackles the quixotic relationship between a postapocalyptic character (the artist) and the devastatingly beautiful but toxic environment he inhabits. In this allegorical rendering of the rapid transformation of his Indigenous community by way of military operations and other environmental violations, the protagonist surveys a possible future. As Wilson states, “The human and nonhuman (or more-than-human) world are emphatically interwoven in Dinétah. Imbalance in one leads to imbalance in the other . . .”

Eve Schillo

2024

Not on view

No image

Artist or Maker: Will Wilson
Dineꞌ, California, San Francisco, born 1969, active Santa Fe, NM
Title: Auto Immune Response/Survey 1
Date Made: 2020
Medium: Inkjet print (pigment based)
Dimensions: Image: 32 11/16 × 78 1/8 in. (83.03 × 198.44 cm) Primary support: 43 7/8 × 89 in. (111.44 × 226.06 cm)
Credit Line: Purchased with funds provided by the Ralph M. Parsons Fund
Accession Number: M.2023.109
Classification: Photographs
Collecting Area: Photography
Curatorial Notes: As a Diné (Navajo) photographer, Will Wilson centers his work around the impact of cultural and environmental change on Indigenous peoples and the possibility of cultural renewal. In the series Auto Immune Response, he tackles the quixotic relationship between a postapocalyptic character (the artist) and the devastatingly beautiful but toxic environment he inhabits. In this allegorical rendering of the rapid transformation of his Indigenous community by way of military operations and other environmental violations, the protagonist surveys a possible future. As Wilson states, “The human and nonhuman (or more-than-human) world are emphatically interwoven in Dinétah. Imbalance in one leads to imbalance in the other . . .”

Eve Schillo

2024