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Kade L. Twist
Associate Professor
Teaches In
Fine Arts
MFA Fine Arts: Art + Social Practice

• M.F.A., Intermedia, Herberger Institute School of Art, Arizona State University, 2012.
• B. A. University of Oklahoma, 2003. Native American studies with emphasis in tribal policy.
• American Indian Policy Seminar, American University, 1999.





Kade L. Twist, is an interdisciplinary artist working with video, sound, interactive media, text and installation environments. Twist's work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination. Mr. Twist is a co-founder of Postcommodity, an interdisciplinary artist collective. With his individual work and the collective Postcommodity, Twist has exhibited work nationally and internationally. In 2017 Postcommodity was included in both the 2017 Whitney Biennial and documenta 14. Mr. Twist is a US Artist Klein Fellow for Visual Arts, and Postcommodity have been the recipients of grants from the Harpo Foundation, Joan Mitchell Foundation, Art Matters, Creative Capital and the Native Arts and Cultures Foundation. Postcommodity are 2017/2018 Ford Foundation Art and Social Change Fellows.


• Postcommodity (artist collective), 2014, Native Arts and Cultures Foundation, Community Inspiration Grant.
• Postcommodity (artist collective), 2013, Art Matters, Artist Grant.
• Postcommodity (artist collective), 2012, Creative Capital, Artist Grant.
• Arizona State University Graduate College Completion Fellowship, 2012.
• Postcommodity (artist collective), 2010 Joan Mitchell Foundation, Painters and Sculptors Grant.
• Postcommodity (artist collective), 2010 Elly Kay Fund, Arizona Genius Award.
• Postcommodity (artist collective), 2009 Artist Project Grant, Arizona Commission on the Arts.
• 2008 Runner-Up, Best Fictional Narrative Screenplay for Heavy Metal Indians, co-written with Nathan Young, Tribeca Film Festival, All Access.
• Postcommodity (artist collective), 2008 Common Ground Grant, First Nations Composers Initiative, American Composers Forum.
• 2007 Native Writers’ Circle of the Americas First Book Award for Amazing Grace.
• 2007 Professional Development Grant, Arizona Commission on the Arts.
• 1998-1999 Sequoyah Scholarship Award, University of Oklahoma (for outstanding American Indian academic achievement).

Professional Accomplishments/Exhibitions:  

Kade L. Twist has been exhibited nationally and internationally, including: Contour the 5th Biennial of the Moving Image in Mechelen, BE; Nuit Blanche, Toronto, CA; 18th Biennale of Sydney in Sydney, AUS; Scottsdale Museum of Contemporary Art in Scottsdale, AZ; 2017 Whitney Biennial, New York, NY; Art in General, New York, NY; documenta14, Athens, GR and Kassel, DE; and their historic land art installation Repellent Fence at the U.S./Mexico border near Douglas, AZ and Agua Prieta, SON.


• The End of the Trail is a Moving Target,” Pine Meoquane, Digitalis Industries, 2005.
• “Urban Indian Equity,” “Gail Norton Was Practically An Indian Princess Herself,” April, City of Tempe Poetry in April Series, 2003.
• Selected work from “Marginal Equity,” Kenyon Review, December 2009.
• “Subdivisions,” “Suburban Storms,” Artcite, 2006.
• “Doublewides,” “Cornhusks and Grape Leaves,” South Dakota Review, 2000.
• “There are Some Things and Indian Just Shouldn’t See,” Tempus, 2000.
• “The Oilfields Are Beautiful At Night,” “Truxtun Extension,” How Come Buck Owens. Never Sang About Cherokees?” Windmill, 1999.
• Postcommodity (artist collective), ” With Salvage and Knife Tongue.” Published in: Art in the Global Present, Eds. Papastergiadis, Nikos, and Victoria Lynn. 2014. Print.
• Manifestations, Museum of Contemporary Native Arts, 2011.
• Marginal Equity, 2007, Book-length narrative poem.
Exhibition Catalogs
• Here, Pennsylvania Academy of Fine Art, 2011
• Defining Sustainability, Arizona State University Art Museum, 2009.
• New American City: Artists Look Forward, Arizona State University Art Museum, 2006.
• Remix: New Modernities in a Post-Indian World, Heard Museum and the Smithsonian Institution National Museum of the American Indian, 2007.