In Conversation: Raven Halfmoon & Candice Hopkins
To celebrate the installation of Raven Halfmoon's Flagbearer at Laguna Gloria, join us for an afternoon conversation between the artist and Candice Hopkins.
Standing over twelve feet tall, Flagbearer is Halfmoon's largest ceramic sculpture to date and was newly commissioned for the artist's exhibition Flags of Our Mothers, currently on view at the Jones Center. This is the first time the work will be shown in Texas and immersed in nature.
To mark the occasion, Halfmoon will be joined by Candice Hopkins at Laguna Gloria for a lively conversation. Hopkins is a curator, writer, and Executive Director and Chief Curator of Forge Project, a Native-led, non-profit organization that cultivates and advances Indigenous leadership in arts and culture.
Together, the pair will explore the significance of Flagbearer and discuss Halfmoon’s artistic practice and exhibition.
The conversation will take place at the Amphitheater, followed by a Q&A. Arrive early to view the sculpture at Laguna Gloria before the talk. Seating is first come, first served.
Members, join us beforehand for champagne and light bites. Reserve your complimentary tickets to this exclusive Member Moment and the conversation event here.
2P – Seating & light refreshments begin
2:30P – Conversation between Raven Halfmoon & Candice Hopkins
3:15P – Public Q&A
3:30P – Program concludes
Event is included with General Admission tickets.
Free for Members! If you plan to attend the Member Moment beforehand, reserve your event tickets here.
For accommodations, please email [email protected] in advance.
Raven Halfmoon
Raven Halfmoon (b. 1991, Norman, Oklahoma, where she presently lives and works) is a sculptor and citizen of the Caddo Nation, and Choctaw, Delaware, and Otoe Missouria. Her practice spans human and monumental-scale stoneware sculptures, with some soaring up to twelve feet and weighing over eight hundred pounds. With inspirations that orbit centuries from ancient Indigenous pottery to Moai statues to Land Art, Halfmoon interrogates the intersection of tradition, history, gender, and personal experience. Her surfaces are expressive and show deep finger impressions and dramatic dripping glazes—a physicality that presences her as both maker and matter.
Her work has been featured in numerous gallery exhibitions both nationally and internationally. Her work is in the permanent collections of the Crystal Bridges Museum of American Art, the Detroit Institute of Arts, the Institute of Contemporary Art, Miami, and the Montclair Art Museum. In 2023, she was selected as an Eiteljorg Contemporary Art Fellow (Eiteljorg Museum, Indianapolis, IN), and in 2024, she was a finalist for the international Loewe Craft Prize (Loewe Foundation, Madrid, Spain). Halfmoon holds a double BA in ceramics/painting and cultural anthropology from the University of Arkansas. Halfmoon most recently participated in long-term artist residencies at the Archie Bray Foundation for Ceramic Arts (Helena, MT) and California State University’s Long Beach Center for Contemporary Ceramics (CSULBC CCC).
Portrait of Raven Halfmoon. Image courtesy the artist and Salon 94, New York.
Candice Hopkins
Candice Hopkins is a citizen of Carcross/Tagish First Nation and lives in Red Hook, New York. Her writing and curatorial practice explore the intersections of history, contemporary art, and Indigeneity. She is Executive Director and Chief Curator of Forge Project, Taghkanic, NY. She is curator of the exhibitions, Indian Theater: Native Performance, Art, and Self-Determination Since 1969, at the Hessel Museum; Impossible Music, co-curated with Raven Chacon and Stavia Grimani at the Miller ICA, and the touring exhibitions, Soundings; An Exhibition in Five Parts co-curated with Dylan Robinson, and ᑕᑯᒃᓴᐅᔪᒻᒪᕆᒃ, Double Vision, featuring textiles, prints and drawings by Jessie Oonark, Janet Kigusiuq, and Victoria Mamnguqsualuk. She was the Senior Curator for the inaugural 2019 and 2022 editions of the Toronto Biennial of Art and part of the curatorial team for the Canadian Pavilion at the 58th Venice Biennale, featuring the work of the media collective Isuma; documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Her notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier,” in the documenta 14 Reader; “Outlawed Social Life,” in South as a State of Mind; and “The Appropriation Debates (or The Gallows of History),” in Saturation: Race, Art, and the Circulation of Value (New Museum/MIT Press, 2020).
