The Hammer Museum’s Contemporary Collection is currently showcasing Brian Jungen’s “The Evening Redness in the West,” an installation of consumer goods and materials which questions depictions of Native American experience in popular culture.

Informed by the artist’s Dane-zaa First Nations heritage and influenced by Indigenous craft and iconography, the work exemplifies Jungen’s use of consumer goods and materials to question depictions of Native American experience in popular culture. In this makeshift tableau, leather seats are reconfigured into a saddle situated atop an improvised wood plinth. Skulls sewn from worn softballs, adorned with faded racist Indian insignias familiar within the vocabularies of sport in North America, flank the central object.

These handcrafted and re-fabricated elements connect to a DVD system and amplifier that plays the audio from popular Western films. Detached from the original film’s images, the sounds narrate a story of conflict in the western frontier. Each rumble, gunshot and climatic boom activates the scene, causing the makeshift saddle-horse to buck, tremble and move about the gallery. “The Evening Redness in the West” takes its name from the subtitle of Cormac McCarthy’s 1985 novel “Blood Meridian,” a meditation on violence during the Mexican-American wars of the late 19th century.

The installation is organized by Aram Moshayedi, the Robert Soros Curator at the Hammer Museum, with Nicholas Barlow, curatorial assistant. The show opened  Aug. 14 and it closes Oct. 31.