Jaune Quick-to-See Smith
Jaune Quick-to-See Smith
|Born||January 15, 1940|
St. Ignatius Indian Mission, Flathead Reservation, Montana
|Nationality||Confederated Salish and Kootenai Tribes, American|
|Education||Framingham State College, University of New Mexico, Olympic College|
|Known for||painting, printmaking|
Jaune Quick-to-See Smith (born 1940) is a Native American visual artist and curator. She is an enrolled member of the Confederated Salish and Kootenai Tribes and is also of Métis and Shoshone descent. She is also an art educator, art advocate, and political activist. She has been prolific in her long career, and her work draws from a Native worldview and comments on American Indian identity, histories of oppression, and environmental issues.
In the mid-1970s, Smith gained prominence as a painter and printmaker, and later she advanced her style and technique with collage, drawing, and mixed media. Her works have been widely exhibited and many are in the permanent collections of prominent art museums including the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, Denver Art Museum, and the Walker Art Center as well as the Smithsonian American Art Museum and National Museum of Women in the Arts. Her work has also been collected by New Mexico Museum of Art (Santa Fe) and Albuquerque Museum, both located in a landscape that has continually served as one of her greatest sources of inspiration. In 2020 the National Gallery of Art announced it had bought her painting "I See Red: Target", which thus became the first painting on canvas by a Native American artist in the gallery.
Smith actively supports the Native arts community by organizing exhibitions and project collaborations, and she has also participated in national commissions for public works. She lives in Corrales, New Mexico, near the Rio Grande, with her family.
Jaune Quick-to-See Smith was born on January 15, 1940, in St. Ignatius Mission, a small town on the Flathead Reservation on the Confederated Salish and Kootenai Indian Reservation, Montana. Her first name, Jaune, means "yellow" in French, pointing to her French-Cree ancestry. Her Indian name, "Quick-to-See," was given to her by her Shoshone grandmother as a sign of an ability to grasp things readily.
As a child, Smith had an itinerant life. Her father, a single parent who traded horses and participated in rodeos, frequently moved between several reservations as a horse trader. As a result, Jaune lived in various places of the Pacific Northwest and California. Growing up in poverty, Smith worked alongside migrant workers in a Seattle farming community between the ages of eight and fifteen years old, when school was not in session.
However, Smith knew very early on that she wanted to be an artist. She remembers drawing on the ground with sticks as a four-year old, and in first grade, she recalls the first time she encountered tempera paints and crayons:
I loved the smell of them. It was a real awakening. I made a painting of children dancing around Mount Rainier. My teacher raved about it. Then with Valentine’s Day approaching, I painted red hearts all over the sky. … I see it as my first abstract painting."
In 1960, Smith began her formal art education in Washington State, earning an associate of arts degree from Olympic College in Bremerton and taking classes at the University of Washington in Seattle. Her education, however, was interrupted because she had to support herself through various jobs as a waitress, Head Start teacher, factory worker, domestic, librarian, janitor, veterinary assistant, and secretary. In 1976, she completed a bachelor's degree in Art Education from Framingham State College, Massachusetts, and then moved to Albuquerque, New Mexico, to start graduate school at the University of New Mexico (UNM). Her initial attraction to the university was its comprehensive Native American studies program, but after applying three times and being successively turned down, she decided to continue taking classes and making art. After an eventual exhibition at the Kornblee Gallery in New York City and its review in Art in America, she was finally accepted into the Department of Fine Arts at UNM where in 1980 she graduated with a Masters in Art. This liberal arts education formally introduced her to studies on the classical and contemporary arts, focusing on European and American artistic practices throughout the millennia, which served as her most influential point of access to the contemporary global art world.
From this background of her childhood and formal arts education, Smith has actively negotiated Native and non-Native societies by navigating, merging, and being inspired by diverse cultures. She produces art that "follows the journey of [her] life as [she moves] through public art projects, collaborations, printmaking, traveling, curating, lecturing and tribal activities." This work serves as a mode of visual communication, which she creatively and consciously composes in layers to bridge gaps between these two worlds and to educate about social, political and environmental issues existing deeper than the surface.
Smith has been creating complicated abstract paintings and lithographs since the 1970s. She employs a wide variety of media, working in painting, printmaking and richly textured mixed media pieces. Such images and collage elements as commercial slogans, sign-like petroglyphs, rough drawing, and the inclusion and layering of text are unusually intersected into a complex vision created out of the artist's personal experience. Her works contain strong, insistent socio-political commentary that speaks to past and present cultural appropriation and abuse, while identifying the continued significance of the Native American peoples. She addresses today's tribal politics, human rights and environmental issues with humor. Smith is known internationally for her philosophically centered work regarding her strong cultural beliefs and political activism.
Smith's collaborative public artworks include the terrazzo floor design in the Great Hall of the Denver Airport; an in-situ sculpture piece in Yerba Buena Gardens, San Francisco; and a mile-long sidewalk history trail in West Seattle.
War is Heck
Jaune Quick-to-See Smith creates a unique art piece called, “War is Heck.” Smith uses her gift to strongly address how her people were treated in the past. “War is Heck” is a lithograph that details the cross-cultural experiences of Smith. Smith adds details such as Native American, European, and American art. Smith uses a “horse” to represent herself, and by doing so she’s attaching herself to her artwork. Smith refers to the Americans by using the American Flag and she uses the “Buffalo” to represent the Native Americans who lived here first before anyone. She also includes “El Soldado'' which translates as “the soldier.” She depicts a soldier with wings that appears to be riding the horse. At first glance the red and blue seem to represent the United States of America, but when you take a closer look at the top of the page under the blue it states, “peace.” The display of red could be a representation of all the lives that were lost. This painting has many attributes regarding the people who once roam the land and the people who came to take the land.
Smith's initial mature work consisted of abstract landscapes, begun in the 1970s and carried into the 1980s. Her landscapes often included pictographic symbolism and was considered a form of self-portraiture; Gregory Galligan explains in Arts Magazine in 1986, "each of these works distills decades of personal memory, collective consciousness, and historical awareness into a cogent pictorial synthesis." The landscapes often make use of representations of horses, teepees, humans, antelopes, etc.
These paintings touch on the alienation of the American Indian in modern culture, by acting as a sum of the past and something new altogether. She does this by beginning to saturate her work with the style of Abstract Expressionists. Smith explains, "I look at line, form, color, texture, etc., in contemporary art as well as viewing old Indian artifacts the same way. With this I make parallels from the old world to contemporary art. A Hunkpapa drum become a Rothko painting; ledger-book symbols become Cy Twombly; a Naskaspi bag is Paul Klee; a Blackfoot robe, Agnes Martin; beadwork color is Josef Albers; a parfleche is Frank Stella; design is Vasarely's positive and negative space."
In the 1990s, Smith began her I See Red series, which she has continued on and off through this day. Paintings in this series were initially exhibited at Bernice Steinbaum Gallery in 1992, in conjunction with protests regarding the Columbian quincentenary. As Erin Valentino describes in Third Text in 1997, "The paintings in this series employ numerous kinds of imagery from an abundance of sources and in a variety of associations: high, mass, consumer, popular, national, mainstream and vernacular cultures, avant-garde (modernist) imagery and so-called Indian imagery in the form of found objects, photographs, scientific illustrations, fabric swatches, bumper stickers, maps, cartoon imagery, advertisements, newspaper cut-outs and visual quotations of her own work, to name some." Here, she juxtaposes stereotypical commodification of native American cultures with visual reminders of their colonizer's legacies. The style of these paintings, with their collage, layered, and misty environments, are reminiscent of that of Robert Rauschenberg and Jasper Johns, their subject matter reminiscent of Andy Warhol, too.
Smith has consistently addressed respect for nature, animals, and human kind. Her interest in these topics lies in her exploration of the adverse socio-cultural circumstances created for Native Americans by the government; this umbrella term refers to the health, sovereignty, and rights of Native Americans. She is able to put her studies into practice by avoiding toxic art supplies and minimizing excessive art storage space.
Today, Smith's paintings still contain contemporary cultural signifiers and collaged elements. References to the Lone Ranger, Tonto, Snow White, Altoids, Krispy Kreme, Fritos, etc., all serve to critique the rampant consumerism of American culture, and how this culture benefits off of the exploitation of Native American cultures. She uses humor in a cartoonish way to bemoan the corruption of nature and mock the shallowness of contemporary culture.
Nomad Art Manifesto
As an active environmentalist, Smith often critiques the pollution created through art-making such as toxic materials, excessive storage space, and extensive shipping. The Nomad Art Manifesto, designed based on the aesthetic of parfleches, consists of squares carrying messages about the environment and Indian life, made entirely from biodegradable materials.
The Nomad Art Manifesto:
- Nomad Art is made with biodegradable materials
- Nomad Art can be recycled
- Nomad Art can be folded and sent as a small parcel
- Nomad Art can be stored on a bookshelf, which saves space
- Nomad Art does not need to be framed
- Nomad Art is convenient for countries which may be disbanding or reforming
- Nomad Art is for the new diaspora age.
Awards and honors
Smith has received attention for her work as an artist, educator, art advocate, and political activist throughout her career and she has received multiple honors, awards and fellowships.
Smith has been awarded several honorary degrees. These include doctorates in art granted by the Minneapolis College of Art and Design in 1992, the Pennsylvania Academy of the Fine Arts in 1998, Massachusetts College of Art in 2003, and University of New Mexico in 2008; a professorship in art by Washington University in Saint Louis in 1989; and, a degree in Native American Studies by Salish Kootanai College, Pablo, Montana in 2015.
Among lifetime achievement awards acknowledging dedication to her career, she has received the Women's Caucus for Art Award in the Visual Arts in 1997, the College Art Association Committee on Women in the Arts Award in 2002, and the Woodson Foundation Award in 2014 as well as being inducted into the National Academy of Art in 2011. She has also been the recipient of the Women's Vision Award for the National Women's History Project in Women's Art in 2008 and the Visionary Woman Award from Moore College of Art & Design in 2011. Other notable awards throughout the years have been the Wallace Stegner Award for art of the American West in 1995, the Joan Mitchell Foundation Award in 1996 to archive her work through the Painters Grant, the Eiteljorg Museum Fellowship for Native American Fine Art in its inaugural year of 1999, ArtTable award in 2011, the Switzer Distinguished Artist Award in 2012, and a United States Artists fellowship in 2020.
Her adoptive state of New Mexico has also lauded her contribution to the arts and local community with praise and continuous recognition over the decades. This began early in her state residency (with her first career honor) when she was named one of "80 Professional Women to Watch in the 1980s" by New Mexico Women's Political Caucus for her local civic engagement in 1979. Subsequent esteemed credits of distinction are: SITE Santa Fe fellowship award in 1995; the New Mexico Governor's Outstanding New Mexico Woman's Award and the New Mexico Governor’s Award for Excellence in the Arts (Allan Houser Memorial Award) both in 2005; the Living Artist of Distinction award by the Georgia O'Keeffe Museum in 2012; the aforementioned doctorate from University of New Mexico (Albuquerque) and the Woodson Foundation award in Santa Fe. Smith was also admitted to the New Mexico Women's Hall of Fame in 2014.
Recent solo exhibitions include:
Selected solo exhibitions
Smith has participated in more than 70 solo exhibitions throughout the United States and internationally since 1978. These include museum exhibitions and gallery exhibitions, such as Kornblee Gallery (New York), Marilyn Butler Fine Art (Scottsdale), Bernice Steinbaum Gallery (New York), LewAllen Gallery (Santa Fe), Jan Cicero Gallery (Chicago), and Steinbaum Krauss Gallery (New York).
- 2018: Jaune Quick–to–See Smith: Making Medicine, Garth Greenan Gallery, New York
- 2017–19: Jaune Quick–to–See Smith: In the Footsteps of My Ancestors, Yellowstone Art Museum, Billings, Montana; Missoula Art Museum, Montana; Loveland Museum, Colorado; Colorado Springs Fine Arts Center, Colorado College; Tacoma Art Museum, Washington
- 2016: Layered Stories: Jaune Quick–to–See Smith, Holter Museum of Art, Helena, Montana
- 2015: Art After the Drought, Museum of Texas Tech University, Lubbock, Texas
- 2014: "Water and War" at the Bernstein Gallery in The Woodrow Wilson School of Princeton University
- 2014: Artists and Arts Workers, Robert E. Elberson Fine Arts Center, Salem College
- 2005-06: Jaune Quick–to–See Smith: She Paints the Horse, Nicolaysen Art Museum, Casper, Wyoming; Ft. Collins Museum of Contemporary Art, Colorado
- 2004-05: Jaune Quick–to–See Smith: Postmodern Messenger, Tucson Museum of Art, Arizona
- 2003-09: Jaune Quick–to–See Smith: Made in America, Belger Arts Center for Creative Studies, University of Missouri, Kansas City; University of Scranton, Pennsylvania; Milton Hershey School Art Museum, Hershey, Pennsylvania; Keene State College, Keene, New Hampshire; Polk Museum of Art, Lakeland, Florida; Museum of Texas Tech University, Lubbock, Texas; University of New Mexico Art Museum, Albuquerque; Montclair Museum, Montclair, New Jersey; Plains Art Museum, Fargo, North Dakota; Lauren Rogers Museum, Laurel, Mississippi; The Grace Museum, Abilene, Texas; Pensacola Art Museum, Florida
- 1996–98: Subversions/Affirmations: Jaune Quick–to–See Smith, A Survey, Jersey City Museum, New Jersey; Lehigh University Art Galleries, Bethlehem, Pennsylvania; Austin Museum of Art at Laguna Gloria, Austin; Missoula Art Museum, Montana
- 1994: SITE Santa Fe, New Mexico
- 1992: The Quincentenary Non-Celebration, Steinbaum Krauss Gallery, New York
Selected group exhibitions
Smith has been exhibiting nationally and internationally in group exhibitions since 1976.
- 2020: Love Letters to the Collection, Missoula Art Museum
- 2019: In Praise of Folly: Five Artists After Philip Guston, Missoula Art Museum
- 2018: Women with Vision: Masterworks from the Permanent Collection, Muscarelle Museum of Art, College of William and Mary
- 2017–19: Multiple Modernisms, Chrysler Museum of Art, Norfolk, Virginia
- 2017–18: Dress Matters: Clothing as Metaphor, Tucson Museum of Art
- 2017–18: An Incomplete History of Protest: Selections from the Whitney's Collection, 1940–2017, Whitney Museum of American Art, New York
- 2017: Great Basin Artists: Melissa Melero-Moose, Topaz Jones, Karma Henry, and Jaune Quick-to-See Smith, C.N. Gorman Museum, Davis, California
- 2016–18: Home: Contemporary Indigenous Artists Responding, Boulder Museum of Contemporary Art, Colorado; Sojourner Truth Library, State University of New York at New Paltz; Pattee Library, University Park, Pennsylvania State University
- 2016: The Map Is Not the Territory, Arab American Museum, Dearborn, Michigan
- 2015: The Plains Indians: Artists of Earth and Sky, Metropolitan Museum of Art, New York
- 2014: Re-Riding History: From the Southern Plains to the Matanzas Bay, Fred Jones Jr. Museum of Art, Norman, Oklahoma
- 2012/15: Octopus Dreams, Ekaterinburg Museum, Novosibirsk State Museum, Togliatti Art Museum, Russia; Siberia; Funabashi City, Japan (2015)
- 2013: Off the Beaten Path: Violence, Women, and Art, Art Works for Change, Johannesburg Art Gallery, South Africa, and Iziko South African National Gallery, Cape Town, South Africa
- 2012: Shapeshifting: Transformations in Native American Art, Peabody Essex Museum, Salem, Massachusetts
- 2012: Indianische Moderne: Kunst aus Nordamerika, Staatliche Museen zu Berlin, Germany
- 2012: ...As Apple Pie, Whitney Museum of American Art, New York
- 2011: Kunst der Indianischen Moderne und Postmoderne aus der Sammlung Peiper-Riegraf, Leon Berg, Germany
- 2009: Havana Biennial, Havana, Cuba
- 2009: Unconcquered Imagination, Ah-Tah-Thi-Ki Museum, Clewiston, Florida
- 2006: The Missing Piece for the Dalai Lama, Fowler Museum, Los Angeles, California; Loyola University, Chicago
- 2000: 5th Triennale Mondiale d’Estampes Petit Format 2000, Chamalieres, France
- 1999: Ceremonial: Eight Native Americans, collateral event during the Venice Biennale, Schola Dei Tiraoro E. Battioro, Venezia, Italy
- 1995–98: Indian Humor, American Indian Contemporary Arts, San Francisco, CA; National Museum of the American Indian
- 1994–96: Pintores en grabado, IV Bienal Internacional de Pintura de Cuenca, Panama; Honduras; Salvador; Costa Rica; Ecuador; Columbia; Uragauay; Venezuela; Paraguay; Dominican Republic
- 1994: Toi te Ao, an Aotearoa World Celebration of Indigenous Art & History, Te Taumata Gallery, Auckland, New Zealand
- 1992: One World, documenta IX, Kassel, Germany
- 1985: Women of Sweetgrass, Cedar and Sage: Contemporary Art by Native American Women, American Indian Community House Gallery, New York
- Akron Museum of Art, Ohio
- Albuquerque Museum of Art and History, New Mexico
- Arizona State University Art Museum, Phoenix
- Art in Embassies Program, Washington, D.C.
- Autry Museum of the American West, Los Angeles
- Baltimore Museum of Art
- Birmingham Museum of Art, Alabama
- Buffalo Bill Center of the West, Cody, Wyoming
- Carleton College, Northfield, Minnesota
- Chazen Museum of Art, Madison, Wisconsin
- Chrysler Museum of Art, Norfolk, Virginia
- Colgate University, Hamilton, New York
- College of Wooster Art Museum, Ohio
- Crocker Art Museum, Sacramento, California
- Crystal Bridges Museum of American Art, Bentonville, Arkansas
- Danforth Art Museum, Framingham, Massachusetts
- Denver Art Museum, Colorado
- DePaul Art Museum, DePaul University, Chicago
- Des Moines Art Center, Iowa
- Detroit Institute of Arts
- Eiteljorg Museum of American Indians and Western Art, Indianapolis
- Eskenazi Museum of Art, Indiana University Bloomington
- Figge Art Museum, Davenport, Iowa
- Fine Arts Museums of San Francisco
- Fort Wayne Museum, Indiana
- Fred Jones Jr. Museum of Art, University of Oklahoma, Norman
- Georgia O’Keeffe Museum, Santa Fe
- Goshen College, Indiana
- Heard Museum, Phoenix
- Hennepin County Library, Minnesota
- High Museum of Art, Atlanta
- Hood Museum of Art, Dartmouth College, Hanover, New Hampshire 
- Indianapolis Museum of Art
- Jersey City Museum
- Joslyn Art Museum, Omaha, Nebraska
- Landschaftsverband Westfalen-Lippe Museum für Naturkunde, Münster, Germany
- Lauren Rogers Museum of Art, New Orleans
- MacKenzie Art Gallery, Regina, Saskatchewan, Canada
- Memorial Art Gallery of the University of Rochester, New York
- Metropolitan Museum of Art, New York
- Miami Dade College Museum of Art and Design, Florida
- Midwest Museum of American Art, Elkhart, Indiana
- Mildred Lane Kemper Art Museum, Washington University, St. Louis
- Milwaukee Art Museum, Wisconsin
- Minneapolis Institute of Art, Minnesota
- Missoula Art Museum, Montana
- Molloy College Gallery, Rockville Centre, New York
- Montclair Art Museum, New Jersey
- Muscarelle Museum of Art, College of William and Mary, Williamsburg, Virginia
- Museum of Art, Rhode Island School of Design, Providence
- Museum für Völkerkunde Hamburg, Germany
- Museum of Fine Arts, Boston
- Museum of Modern Art, Cuenca, Ecuador
- Museum of Modern Art, New York
- Museum of Modern Art, Quito, Ecuasdor
- National Gallery of Art, Washington, D.C.
- National Museum of Women in the Arts, Washington, D.C.
- New Mexico Museum of Art, Santa Fe
- New Orleans Museum of Art
- Newark Museum, New Jersey
- Nicolaysen Art Museum, Casper, Wyoming
- Pensacola Museum of Art, University of West Florida
- Richard F. Brush Art Gallery, Saint Lawrence University, New York
- Rockwell Museum, Corning, New York
- Roswell Museum and Art Center, New Mexico Salish Kootenai College, Pablo, Montana
- Sheldon Museum of Art, Lincoln, Nebraska
- Smith College Museum of Art, Northampton, Massachusetts
- Smithsonian American Art Museum, Washington, D.C.
- Smithsonian National Museum of the American Indian
- Spencer Museum of Art, University of Kansas, Lawrence
- Sweet Briar College Gallery, Virginia
- University of Arizona Museum of Art, Tucson
- University of Northern Iowa Gallery of Art, Cedar Falls
- Victoria and Albert Museum, London
- Walker Art Center, Minneapolis
- Washington State Art Collection, Washington state, U.S.A. 
- Whitney Museum of American Art, New York
- Wichita Art Museum, Kansas
- Yellowstone Art Center, Billings, Montana
- "Jaune Quick-To-See Smith Bio". NBMAA.
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- Fricke, Suzanne. "Jaune Quick-to-See Smith, Trade (Gifts for Trading Land with White People)". Khan Academy.
- Tarlow, Lois (December 2003). "A Plant Never Sits in Isolation: Jaune Quick-to-See Smith". Art New England: 9.
- Ed. Abbot, Lawrence, I Stand in the Center of the Good: Interviews with Contemporary Native American Artists, University of Nebraska Press: Lincoln, 1994.
- "Accola Griefen Gallery | Jaune Quick-to-See Smith". accolagriefen.com. Retrieved 6 February 2017.
- "Great Hall Floor | Denver International Airport". www.flydenver.com. Retrieved 2016-03-18.
- "Public Art at Yerba Buena Gardens". Yerba Buena Gardens. Retrieved 2016-03-18.
- "Art Beat » Weekly Art Hit: 'West Seattle Cultural Trail'". artbeat.seattle.gov. Retrieved 2016-03-18.
- "War is Heck". Whitney Museum of American Art.
- Clifford, Garth C. (January 11, 2021). "Horse Symbolism & Meaning (+Totem, Spirit & Omens)". Worlds Birds Joy of Nature.
- Pauls, Elizabeth Prince (Jul 16, 2007). "Native American indigenous peoples of Canada and United States". Britannica. line feed character in
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- Jardine, Jeff (July 8, 2020). "El Soldado". CalVet.
- Galligan, Gregory (1986). "Jaune Quick-To-See Smith: Crossing the Great Divide". Arts Magazine. 60 (5): 54–55.
- Galligan, Gregory (1987). "Jaune Quick-To-See Smith: Racing with the Moon". Arts Magazine. 61 (5): 82–83.
- Rose, Peter (January 10, 1982). "Eclectic Image-Maker' Paints Contrast". Arizona Republic.
- Valentino, Erin (1997). "Coyote's Ransom". Third Text. 11 (38): 25–37. doi:10.1080/09528829708576656 – via Taylor & Francis Online.
- Lovell, Charles (2003). Jaune Quick-to-See Smth: Made in America. Kansas City, Missouri: Belger Arts Center for Creative Studies.
- Farris, Phoebe (2005). "Contemporary Native American Women Artists: Visual Expressions of Feminism, the Environment, and Identity". Feminist Studies. 13 (1): 95–109. doi:10.2307/20459008. JSTOR 20459008.
- Indyke, Dottie (2003). "Reviews: Jaune Quick-to-See Smith at LewAllen Contemporary". Art News. 102 (4).
- Women artists of color : a bio-critical sourcebook to 20th century artists in the Americas. Farris, Phoebe, 1952-. Westport, Conn.: Greenwood Press. 1999. ISBN 0313303746. OCLC 40193578.CS1 maint: others (link)
- "Texas Tech University :: TechAnnounce". www.techannounce.ttu.edu. Retrieved 2016-03-18.
- "Jaune Quick-To-See Smith: Water and War". Woodrow Wilson School of Public and International Affairs. Retrieved 2016-03-18.
- "Internationally Renowned Artist Jaune Quick-To-See Smith to Speak at Salem College | Salem College". www.salem.edu. Archived from the original on 2016-03-28. Retrieved 2016-03-18.
- "Previous Exhibitions". CN Gorman Museum. Retrieved 3 July 2020.
- "Akron Art Museum - Collections". Akron Art Museum.
- "The Baltimore Museum of Art". collection.artbma.org.
- Quick-to-See Smith, Jaune. "The Rancher". Hood Museum of Art, Dartmouth College. Retrieved 14 May 2021.
- Quick-to-See Smith, Jaune. "Ghost Dance Dress from the Portfolio Lasting Impressions". Hood Museum of Art, Dartmouth College. Retrieved 14 May 2021.
- "Untitled, from the portfolio Indian Self-Rule".
- "Artworks by Jaune Quick-to-See Smith, in WA's State Art Collection". ArtsWA.
- "Neal Ambrose-Smith". Indian Space Painters. Retrieved 10 May 2011.
- Kastner, Carolyn. (2013) Jaune Quick-To-See Smith : An American Modernist. Albuquerque, NM: University of New Mexico Press. ISBN 978-0826353894