Unconsciousness is erasure: a case study of dominant frameworks and their effect on the representation of Alaska native women artists in the University of Alaska Museum of the North Rose Berry Alaska Art Gallery

Abstract

This case study examines dominant frameworks and their effect on the representation of Alaska Native women artists within the University of Alaska Museum of the North's (UAMN) Rose Berry Alaska Art (RBAA) Gallery. Focusing on the power dynamics inherent in museum exhibitions, this research investigates how dominant practices may silence marginalized voices by utilizing dominant group theory (DGT) and co-cultural theory (CCT). Through qualitative thematic analysis of the RBAA Gallery's descriptive statement and content analysis of 163 artwork records for pieces on exhibit from the Arctos database, this study addresses three research questions: RQ1: What communication approaches and interactional outcomes does the main UAMN RBAA Gallery descriptive statement reflect in the context of Alaska Native women artists’ voices? RQ2: How do the Arctos database records represent the Alaska Native women artists whose work is on display in the UAMN RBAA Gallery? RQ3: How can the communication discipline contribute to museum curatorial practices within the UAMN RBAA Gallery? Findings reveal patterns of underrepresentation and contextualization that perpetuate dominant narratives, hindering the visibility and impact of Alaska Native women’s artistic contributions within the UAMN fine art collection. This research underscores the need for assertive dismantling of dominant frameworks within museum curatorial practices. By contributing a communication-focused research guide, ethical and inclusive engagement with artists is fostered, with direction toward a more holistic understanding of Arctic art and culture.