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    <loc>https://www.larissavsnez.com/about</loc>
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    <lastmod>2026-02-20</lastmod>
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      <image:title>About</image:title>
      <image:caption>Photo by Kevin Bitsie</image:caption>
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      <image:title>About</image:title>
      <image:caption>Larissa is a Curatorial Associate in the Painting &amp; Sculpture department at the San Francisco Museum of Modern Art and a Curatorial Consultant for the Gochman Family Collection. She is concurrently a Ph.D. student in the Department of Ethnic Studies with a Designated Emphasis in Critical Theory at the University of California, Berkeley. She holds Master of Arts degrees in Ethnic Studies from the University of California, Berkeley and Public Humanities from Brown University. She also earned her Bachelor of Arts in Art History with a minor in Sociology from the University of Notre Dame.</image:caption>
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    <loc>https://www.larissavsnez.com/updates</loc>
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    <lastmod>2025-08-22</lastmod>
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      <image:title>CV - Raclin Murphy Art Advisory Council</image:title>
      <image:caption>Raclin Murphy Museum of Art, University of Notre Dame, IN In 2022, Larissa was appointed by the President of Notre Dame, Rev. John I. Jenkins, C.S.C., to serve as a young alumni member on the Raclin Murphy Museum Art Advisory Council. During this three-year appointment, Larissa will play a key role in serving as an ambassador for Notre Dame, provide valuable council and professional expertise, promote opportunities for students and graduates, and act as a liaison for the museum. Learn more about Larissa’s appointment here.</image:caption>
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      <image:title>CV - Advisory Committee Member</image:title>
      <image:caption>Museum of Indian Arts &amp; Culture, Santa Fe, NM In 2022, Larissa was invited to join the Advisory Committee for the upcoming exhibition, Horizons: Weaving Between the Lines with Diné Textiles, opening in July 2023 at the Museum Indian Arts &amp; Culture in Santa Fe, NM. As a member of the committee, Larissa will closely collaborate with the co-curators and MIAC team. She will also be contributing to the catalogue, interpretation of materials featured in the exhibition, and panels associated with the event.</image:caption>
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      <image:title>CV - The Students &amp; Emerging Professionals Committee</image:title>
      <image:caption>The College Art Association, IL &amp; NY In 2019, Larissa accepted a three-year appointment to the College Art Association Student and Emerging Professionals Committee. In this position, Larissa will participate in networking and professional development programs and advocate for more opportunities for Indigenous students and emerging professionals.</image:caption>
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      <image:title>CV - Native American Alumni Board of Directors</image:title>
      <image:caption>Alumni Association, University of Notre Dame, IN In 2019, Larissa was appointed as the Communications Director for the Native American Alumni Board of Directors for the University of Notre Dame. In this position, Larissa will manage the public image and communications of the Board. The Board advocates for financial support for Native students and the inclusion of more culturally-appropriate curriculums and partnerships across the University.</image:caption>
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    <lastmod>2024-03-28</lastmod>
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    <lastmod>2025-12-12</lastmod>
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  <url>
    <loc>https://www.larissavsnez.com/publications</loc>
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    <lastmod>2026-02-20</lastmod>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5de42f418ec727201d57e6f2/33524ca9-3a40-4592-8b6c-7103864edcaa/9781580936750.jpg.png</image:loc>
      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>John Feodorov, WHERE ARE THE DEAD?, 2023, Acrylic, latex, collage, ink, conté, feather, and graphite on wood panel. 60 x 60 inches.</image:caption>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Publications - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Sky Hopinka, “Cloudless Blue Egress of Summer (2019),” HD video, stereo, color, 2-channel, synchronous loop</image:caption>
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      <image:caption>Photo by Fondazione Prada</image:caption>
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      <image:title>Publications - Indigenous Cultural Revitalization: Notes on rematriation and preservation</image:title>
      <image:caption>Arts of the Working Class, July 2023 In this issue, '“On Kinships: I’D RATHER GATHER IN ANYTHING BUT A NATION,” contributors summon forms of affiliations that are more than biological or nation-inscribed, move into joyful fugitiveness, and model of relational world-making. Larissa authored and edited a piece for the issue that focused on Indigenous cultural revitalization, repatriation, and preservation.</image:caption>
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      <image:title>Publications</image:title>
      <image:caption>"Smith presents a complex composition that reframes the way we understand temporal experiences of war: For those who terrorize, war is a lucrative endeavor that is intimately bound to capitalism and power. For those who are terrorized by this violence, how do they move forward? What existence is possible in its aftermath?"</image:caption>
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      <image:title>Publications</image:title>
      <image:caption>“Our collective project is not to simply learn about one another’s histories and lands. Our project is to move gently across the land so that our senses are attuned to the heartbeat, spirit, breath, and movement of the land. Our project is to know the land as beautifully and intimately as the Holy People, Changing Woman, and our ancestors did. Our project is to express a deep love for the land and in that love, defend, care, and listen to the land. Just as the land knew us before we entered this world—through our actions and love, the land will see us in and know us through future generations.”</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5de42f418ec727201d57e6f2/87749e64-6116-4cf1-8f66-7f25d5c165e8/E63BC32A-713C-4074-8A58-7C888DA3A7F3.JPG</image:loc>
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      <image:caption>"The wall in the gallery that had been neatly arranged with an “accumulation of dishonorable Indigenous stereotypes” became sparse and slowly, every item was transformed through the cathartic act of destruction. Destruction, then, was the vehicle in which community and ceremony were activated."</image:caption>
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      <image:caption>“We have our own stories. Our stories restore life, beauty, and balance to the world. Our stories guide us in imagining and fighting for a decolonial future. Our stories were passed down to us by our Holy People. We do not seek recognition through our stories, we seek revolution through Our Stories.”</image:caption>
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      <image:caption>“I think there’s a balance… [and] these relationships to weaving are translated into the exhibit. The work we wanted to see is grounded in having people understand the human aspect, the community aspect of weaving. And now we want that to continue in our own work.”</image:caption>
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      <image:caption>“The [Color Riot!] installation in Montclair adds many new elements, including immersive, atmospheric music by Diné musician Connor Chee. Visitors to Color Riot! will have the opportunity to see the resilience, autonomy, and ingenuity woven into these textiles along with the beautiful colours.” — Christie’s</image:caption>
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      <image:title>Publications - Re-Visioning Native Histories</image:title>
      <image:caption>VLC Forum 2024, October 2024 In an expansive conversation, VLC Borderlands Curatorial Fellow Larissa Nez (Diné) introduces Kent Monkman (Cree) and Nathan Young (Delaware Tribe of Indians) and moderates the conversation to ask: How can artists and historians correct or produce a “correct” record of Indigenous histories? How can historical scholarship and artistic practice work in tandem to reenvision Native pasts and futures? revisit some of the foundational narratives of the so-called United States of America, centering Indigenous figures, events, and narratives that have been erased or denied as part of the settler-colonial project.</image:caption>
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    <lastmod>2024-07-19</lastmod>
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