We now switch from looking in to having the opportunity to listen to new voices from life experiences that are outside of our worlds. Or so I think, you may surprise me again. I not know of anyone in this class who has lived as a Native American but I would not be surprised if one or more of you have worked with or are close friends with an artist that could be in this book.
The writings in this book are from a series of talks/presentations at the 1995 Venice Biennale which is a reason why they at first sound very formal. Just keep reading. I have found certain pages that I had to re-read 3 or 4 times to pick up on the subtle references. As someone who has spent most of my adult life in the southwest respecting what I saw of Native American art and slowly learning to see past the stereotypes and marketing images I found surrounding me on every trip to Taos or Santa Fe, the book is refreshing and challenging. I keep wondering what mistakes/misconceptions leading to larger missteps have taken part in or be witness to.
I love how this book brings up questions on curating. How the assumptions I was trained to honor when I was a museum curator are very limiting and very white/euro-centered. I knew it, but it never hit home like the first part of this book. As such ( and I truly accept that I may be the only one moved this way but the advantages of being the "teacher" is I can decide certain things) we are going to take an extra week with this book. So watch the posting.
After you read this first section, just share your response to all, any of it. Good, indifferent, mad, glad or whatever. I want to know what you think about the issue of Native American arts, artists.
I am only about half way through the reading, but I just have to say the images thus far are AMAZING! They have just captured me!
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ReplyDeleteAs I looked at the cover of the book I was intrigued to see that we would learn about Native American Art. My great grandfather was Apache Indian, a man I did not get to meet but from my mother he was a fantastic man interested in so many things. Well saying that I have always been interested in Native American art and on my try to New Mexico I got to see some artwork in high school Taos as well. If I remember correctly it was just pueblo pottery and my first thought of this book would be the same. Boy was I wrong.
DeleteI wish there was more pictures but from what I can take, Delta One Fifty is by far the most interesting part to me. I do not even know where to begin but to say I believe in everything in this section. This piece hits my History background and I feel for the importance and the passion for this section. “…were going to be here sooner or later, one way or another...”, is my favorite quote and I like the desire, intensity, and how Paul Chaat Smith questions everything about the symposium. The thoughts that as a Native American being “divided” in the cultural work still shows in art work and art shows. It’s not understood or hits the standards of what certain people believe in. They see things differently and bring different ideas to the table. Wish I could see more of the artwork and read more about this section.
Thumbs up
As I began reading this book, a lot of memories came up for me; having grown up in Canada I have had the opportunity to have had several good friends who were First Nations people. I have witnessed firsthand some of their struggles which were predominately addictions and poverty. One experience I will never forget was having a physical altercation with a drunken first nation person in a coffee shop. This experience was not uncommon unfortunately, as one would sometimes see drunken natives fighting outside the liquor store. We had an expression for someone who was a mean drunk and we would say that they had “gone native.” It is very sad to see the hold alcohol has on the first nation people and the brokenness it has caused. My own wife, who is Apache, can attest to this within her own family and tribe. My close native friend while I was at Red Deer College told me that it will take seven (sacred number) generations for his people to be healed of alcoholism.
DeleteFor a time I had worked in a medium federal prison system where a lot of natives go due to crimes committed under the influence. I got to know some of the Inuit artists who did amazing soap stone carvings. Fortunately, they were able to continue to their craft (which is highly collected by the art world) while in prison. The sad thing was some of their art work would get stolen and not always by the inmates.
My favorite Canadian first nation artists are: Kenojuak Ashevak, Norval Morriseau, and Bejamin Chee Chee. These native artists from Canada were famous within their lifetimes and their work is highly collected around the world.
I am so honored that you who have ties to the Nations find this books as respectful as I did. At times it stops me in my tracks because I become overwhelmed with what I do not know/ will never experience. It continues to amaze me that art is means to heal from generational pain, to scream against the continuing injustice, to whisper the secret dreams and to bring a bit of beauty in the world.
DeleteYes, indeed, very interesting that you have have Native American roots or cultural ties. The first time I visited Santa Fe, I wanted to buy something authentic for a few family members. A small pair of earrings or something. There were so many street vendors selling jewelry, but most of the things I saw, I couldn't bring myself to buy because they were simple beads on earring hooks that I could make myself. There wasn't much (that I could afford) that I felt was genuinely Native American. At the gift shops, I had to read labels very carefully, because most of the goods deceitfully looked Native American, but were manufactured in other countries. It is just sad that because of consumerism true Native American arts and crafts are drowned out.
DeleteDavid, that is so awesome that you have had those types of experiences both the good and bad. Not many can say that. I am unfortunate that I have not had that much experience with Native American Art. I find it fascinating but I just don't know that much about it or the people. I regret not paying more attention in college in a class that I took about Native American Art. I am finding parts of this book a little hard to follow and others very interesting. I am realizing more and more that there are so many artist out there that we just do not know about and we do not share with our students. We all know about the dead white guys but not about all the living artists. Future brought that up so many times this summer and it really got me thinking about this and how I can incorporate new living artists into my art room. I really found it disturbing in Why Venice? Why Visions? that they did not incorporate African artists into the shows and that they are just starting to incorporate them in the last century into print. As if their art doesn't matter. But I think this a lot, that an elephant that can paint something on paper and it becomes world famous but that artists that actually make statements and draw/paint/sculpt/create from the heart and show themselves, making themselves truly vulnerable are just tossed aside like it their art doesn't matter. It seems that most galleries or places that accept art only want abstract pieces or landscapes for hotel rooms. and yes that stuff might be pretty but where is the meaning behind it, the artist statement, the I AM FROM poem, where is the heart. I can paint that stuff too but what is the purpose??? Maybe I'm being too harsh or critical?? I just think there should be more of a variety of art that gets accepted into galleries and other places....
ReplyDeleteReading this book has been a learning experience for me on understanding the challenges of contemporary native artists which I confess I know little about. Andrea, I also was disturbed about how there was very little incorporation of African artists into the shows. I can just imagine all the hidden talent waiting to be discovered throughout this great continent. I would have not been familiar with African contemporary art if wasn’t for a class I took with Ed Check. I learned about Bright Ugochukwu Eke, a Nigerian artist who created powerful art work on the issue of water and acid rain. Here is his video on his work, it is very inspiring!
Deletehttp://www.youtube.com/watch?v=nxTRS6VSMgA
I believe part of the complain from this book is that so many shows or exhibitions on Native American Art have been through the eyes of the white curator. That until there were museums lead by Native Americans there would always be "assumed" knowledge, but it was without heart. Andrea, use the art work of your class mates for your lessons. Really. How exciting to be able to actually tell your students what great people these artists are. For me Junction is source of art lessons/examples.
DeleteShould be complaint not complain...writing too fast, again.
DeleteAndrea, the under-represented beside African Artists, and Native American Artists, was also women at some point. Women and minorities to this day struggle in social and political situations.
DeleteAs I started to read the introduction to Vision, Space, Desire, I was struggling to focus with the formal “Art Historian” writing. However as I began to read the individual stories, I was relaxed in the friendly “story time” like conversation the curator’s seem to bestow. Paul Chaat Smith, delighted me! I appreciated the quick backstory he gave over Native Americans, and the history of Colonialism. While I was familiar with this history, a nice review sets the tone. I also agree with Jean Fisher, that the Native American culture had been insanely branded. Everyone faces stereotypes, however the Native American stereotype is often overlooked and disregarded as a stereotype. I have heard many people say, “We the white Europeans are Native Americans, because we are native to America.” This upsets me, not only because they’re wrong, but also while we are considered American citizens today, we are not native to America. Our ancestors are from all over the world, they moved here and called this land home. We are Americans, but we are not native to America, we are emigrants. However trying to explain this to some people is very difficult. Another form of insensitivity I have noticed towards Native Americans, is that in the shopping malls the “trend” today is of Native American art. Everything has feathers, beading, and sacred prints, and designs on the clothing, and all not made from Native American artists, but rather White teen fashion industries in New York and L.A. Maybe these industries want people to recognize this culture? Maybe these industries want people to appreciate the Native American artists? However they are going about this all wrong. Instead of taking these sacred and important symbols, and pieces of Native American culture and mass producing to be “stylish”, or “worldly”, that also mean nothing to you, but just a shirt, or “cute jewelry”, these industries should rather come up with their own designs, that isn’t offending or appropriating any cultures. On another note, I really enjoy the artwork throughout the book! I really enjoy Contemporary Native American Art. My great great grandmother was full blood Native American; unfortunately her culture and lifestyle were not passed down. While I personally do not understand what this culture is going through, or the meanings of their beliefs, I do appreciate the culture and beliefs, and respect it, like I do towards all beliefs, and cultures around the world. I want to understand. I think this is the main reason I am so enthralled with this book! Once again, great job Future!
ReplyDeleteWOW. I am so impressed that so many of you have family ties to the Native cultures. I encourage each of you to research you heritage. It is a part of you even you do not understand why or how.
DeleteJayson, a dear friend who was Seminole, asked me once when I had the same lament about fashion trends "Do you really think we have shared our true stories or our magic?" Another time when in Taos and fully aware that a person I had gone to grad school with was passing himself and his off as Sioux , I asked a member of the Pueblo if it upset him. His reply was" Why would it, we are not buying the art, the white man is!" I loved it. This is not to dismiss your concerns which is only one example of what makes you a great teacher...your ability to acknowledge and respect "other".
Jason, speaking of Native American themed merchandise...my high school mascot was a Redskin. The Donna Redskins. It is soooo hard to get people to understand how much of a derogatory term that is. The best analogy I saw was a cartoon of an Indian Chief wearing a maroon shirt with a Redneck image on his shirt and he is looking straight at a guy wearing a Redskin shirt. I am not a Donna Redskin anymore, I am at the new high school which are the Donna North Chiefs.
DeleteThis book speaks to me. Is my job about “friction, confrontation and shock? …subjected to the turbulences of life”. (p 82)
ReplyDeleteMy title is actually Museum Curator. It’s a township of 50,000 in a big metropolitan area. It functions like a small town. Last week, I talked to the Mayor last week about where he collected arrowheads as a boy. He told me where the Caddo Mounds were off 114 but the really good place to look for arrowheads was where the springs are. At the old springs there is a good piece of high land, cross timbers, and fresh water. That’s where the Native Americans lived for a very long time. Now, part of it is a golf course, still rich with arrowheads, No Native americans.
I look around the 3 little house museums, which are part of my curatorial duties and I don’t see that story. I hear about the founding of the settlement when, then, President Sam Houston signed a treaty of peace and friendship with 10 Indian tribes. A great story but if we are talking about what life was like on the
black land prairie. I need more of that whole story. I know that the 2 rings of forts built in and around Tarrant county means we must examine Peace and Friendship. It means there are more stories to hear and present. For me, as I look at spaces and themes winding together, I like an integrated vision. I like to see things happening simultaneously--together on the timeline.
How does this relate to Vision, Space, Desire:
It’s the stories and how we choose to tell them. Do we separate out people, minorities, groups or do we include.
If these groups don’t participate in a highly politicized and commodified art market are they artists?
(anyone who has entered a jurored show has a personal answer for this)
I find it so interesting the use of the word “contact.”--Perhaps that is the visual timeline in my head, points of contact and then reaction.
Also, I consider the themes of invisibility, keeping things small, and “meeting not colliding”. This “alternative conceptual approach” the non majorities groups often have-- requires a self awareness and a analytic view of the cultural which one is living in but may not be fully participating in.
W.E. B. DuBois quote about the third eye or double consciousness spoke to me. On page 88, the quote is “in DuBois’s words, ‘the Negro is sort of the seventh son, born with a veil, and gift with second-sight in the American World.”
Isn’t it a western concept to separate art from daily living—the idea that we have an object and part of its completion is to make it beautiful. Or is making art a separate act?
Or is somehow the studio a new separate sacred place? What is the underpinning philosophy to creation and then to art?
Is it about the market and viewership or is it being invited to a party that you had been hosting for centuries?
Lynn, you have the power to change the way the stories are told, To pick new stories. There are some wonderful small museum in OK that are dedicated to the various nations or tribes. Much like your little town they begin with one building, one site, one story.
DeleteHaving spent time working in and for museums I understand the message this books holds for anyone who works with public exhibitions for private patrons.
I have been working on it. I explained just the other day--if you tell everyone's stories its about what happened. But to not tell everyone's stories makes you culpable.
DeleteI wish that I had time to go back through the writings to reread; Future is so right, there are so many subtleties within each writer's passage I'm sure that I missed much on my first go-through.
ReplyDeleteI loved the humor I picked up on in Paul Chaat Smith's entry; his writing was very accessible and conversation that I felt a part of his conversation. He presented a very interesting view about colonization--that Western culture was enriched by the transfer of people/culture. We hear so much how colonization destroyed indigenous populations, and many times forget to mention the "transfer of wealth" from indigenous people in the Americas and Africa. What Westerners learned from Native Americans and what slave trade brought to Europe and America transferred the riches of these cultures into Western culture with lasting impact. This comment is not to negate the destruction and pain that played out of multiple continents, but to make note of the spread of cultural information.
A big theme for many of the writers was globalization and the flattening effect it has on (indigenous) cultures. I see both good and bad in globalization; as we "flatten" the Earth it makes us as humans seem more alike, which I see helping us break down old prejudices and cultural wars. How can we hate someone who we see/understand/relate to? On the other hand, I do agree with writer's Fisher and Rickard that globalization can create a homogenous, flat existence--taking away all the cultural subtleties that make the world so rich. So there's a balance to be found, both for indigenous artists and all artists. All of us come from some cultural fabric that displays itself in our artmaking.
While I understand that there is a different set of "requirements" for a non-white artist to scale in climbing into the Art Scene (Europe/Western run art institutions), I think that for many artists there's an impossible series of "boxes" to check in order to make it fully into the national, let alone international, art scene. Many of us here on the blog create art, yet don't find ourselves cruising through Art Land (granted many of us have divided interests btwn education and art). "Historiography, including art historiography, is only possible if a few events are selected from the chaos and peddled" (Walter Grasskamp thru Salah Hassan, pg 51). So basically, eventhough you and I, and many artists around us, are all busily creating and showing and creating, much of what we do does not even register a blip on the "Art History" timeline. Although I love to believe with my whole heart in success finding those who work hard and believe in what they are making/doing, I recognize that much of success comes from having the "correct" connections. In my case, I might continually pursue my art career, making and presenting very authentic art from my narrative, but I've seen how closed my own local art scene is and know that breaking into the (inter)national scene would be even harder...unless I foster the right relationships.
I loved Hassan's tying the African struggle into our Native discussion--specifically when he pointed out that many of us might believe that economics or political unrest at home is what keeps African artists from displaying in the international forums, yet in actuality, in the "director's choice" presentations Africans were completely represented. Leaving many of us to think, "oh maybe Africans don't make art." Yet contrasted with the Johannesberg short-lived biennale we see there are many African artists, in Africa and spread outwards, that create and display regularly within certain contexts. So yes, there is a bias that plays out in these international settings that creates an environment lacking multiplicitous viewpoints.
I intend to continue on with our next section of reading, but I hope there's some time before our discussion is over to go back and look through some of these passages.
Great observations, Emily. There is no one answer or one view, which is the wonderful point to all of this. As for making it into the local art scene...you have to begin entering art shows/competitions that yes cost money, begin to organize your own art show or a show with friends and then look for places that accept proposals for show (group or singular). You need a body of work, good images and a message even if the message is "I explore process "
DeleteIt can be done, it just takes attention and work. I am not good at it myself. Fortunately this is not a requirement for being a great student/artist/educator....which you all already are...this is about being noticed.
My first thoughts on the reading had to do with how little I knew about postmodernism, multiculturalism, diaspora, colonialism, post-colonialism, neo-colonialism. I have heard these terms and theories thrashed around me before, but have never formally discussed any of them in depth in a class setting or read in depth about them. However, they are all very pertinent to the direction of my work that I am thrilled to have an opportunity to grasp and discuss these ideas.
ReplyDeleteThe passage by Gerald McMaster, really hit home for me when he discussed neo colonial situations and transmigrations of indigenous peoples managing to maintain traditions and other blending with their adopted countries. (Indian,19) Also how native and non-native artists make art for may reasons including as a means of persistence and identity while living in the core and margins of society. (Indian, 20) I have lived all but the first five years of my life in the Rio Grande, which is a border town rich in culture and what McMaster would see as a “highly contested space that collides and mixes”. (Indian, 20) This large area along the border of Mexico and the lowest Texas, is what the late writer Gloria Anzaldua calls “Nepantla”; which means middle space Nahuatl, the Aztec language. I am not “Native American”, but I celebrate my indigenous roots. There is also the idea of the Chicano and Indian unity known as “Xicanindio” termed by the late poet and activist Raul Salinas regarding Mexicanos’ indigenous identity.
Regarding Native American artists being “insular, seeing themselves as different and therefore special,” as Harry Fonseca puts it, I can see how Native Americans can be viewed as exclusive, but the social and political struggles they have had in the past persist today. Healthcare, and funding for education , etc. There are many social injustices that keep them disadvantaged.
Jean Hubert Martin’s brought up a good point about minority artists having different issues, like fighting for their rights. I was made to rethink the notion of “the universal language of art.” There are undeniably many factors of social inequalities and injustices that undermine that notion.
What I found ironic is that after reading Paul Chaat Smith and his “contributing to anti-intellectualism in our own communities” (Indian, 38) I was bombarded by the dense scholarly writing of Jean Fisher. She is probably a highly respected contributor to the art world, but she could (as my English major husband puts it) benefit from a creative writing course. I have never had to read anything so many times over to try to grasp exactly what she is trying to say and weed whack through all the scholarly jargon. I wanted to say to her that she needed to use “I” language. So I am not entirely certain that I grasped her perspective correctly, but I felt as if she comes from the same thinking as Samuel P. Huntington in his racially biased book on national identity, “Who Are We? “ The late Samuel P. Huntington believed that the values, institutions, and cultures brought by British settlers determined the national identity for race, ethnicity, culture, and religion for America. (Huntington, 38) Huntington also argues that “subnational identities” seeking multiculturalism, and diversity which promoted deconstruction of the “Eurocentric” unity of what he believed was the American national identity. Jean Fisher mentions pluralized identities, border crossings, and cultural hybridities, which is aligned with Huntingtons shared ideas of “ethnic upsurge.” (Huntington, 145) Jean fisher also discusses assimilation regarding postcolonial diaspora, which is an extremely complicated phrase for displaced peoples failing to adapt the culture of the non-native country that they reside in. Fisher also mentions (Huntington, 2004)“many indigenous artists and intellectuals effectively practice in Western Academia and Native community without an apparent loss of subjective integrity”, which I find is an unfounded statement. (44) In my blunt opinion she shares a lot of the same racist views as Samuel P. Huntington.
ReplyDeleteMy last point is the passage by Jolene Rickard, I was excited it was about wampum records, which I found surprising since my husband and I have been researching sources for imitation wampum beads to buy for a Wampum Record Writing workshop that he wants to put together. He just made a wampum record last weekend and showed me the technique. He learned the technique in a class he took at Texas A&M. The wampum record he made was about a rabbit running into a rabbit hole.
Works Cited
Huntington, S. P. (2004). Who Are We? New York, NY, USA: Simon & Schuster.
Indian, National Muesum of The American. (2006). Vision, Space, Desire. Washington D.C., USA: Smithsonian Institution.
I agree with the density of Fisher, which is exactly what I dislike about academe. Too much about too little. And this is exactly why Ed and I preach about "I" language. The idea of taking a very personal life experience (s) and turning it into a very general talk or presentation is demeaning. I am much more interested in hearing the heart talks of individuals.
DeleteAnd I am now going to have to re-look into wampum records.
LOL, I loved your comment "she could benefit from a creative writing course." I try to stay connected to "everyday person" in my writing, but just the fact that I read/participate in graduate level work, I find myself sometimes needing to scale back my language. If we get too cerebral in the way we talk, we lose a large portion of our audience. Academia can be a little overbearing sometimes.
DeleteThe reading this week Vision,Space, Desire, really opened my eyes to the native american culture and it's arts. Although I have grown up in Texas and Oklahoma, I know very little about Native American people. My folks are from southern Illinois and my Dad attended the University of Oklahoma (where I was born). My dad was a petroleum engineer and early in his career, he visited with several oklahoman tribes (Ponca, Choctaw, Chickasaw) on their indian reservations to buy lease lands from them. One of our close family friends is half-blooded Ponca Indian. He never talks about his people or events (present or past) other than the "Pow Wow's" he's attended during his lifetime.
ReplyDeleteRegarding the Native American people, I also subscribe to Jayson's explanation that although we are American citizens, we are indeed not native to America. America was/is a melting pot of nationalities, cultures, languages, religions that came from all over the world, but initially through Europe. The stereotypes and references to Native American Indians and their culture (of yesterday) are indeed unjust and unconscionable. The early american references to indian culture and art are distorted, grossly inaccurate and disingenuous. I am pleased that The Indian Arts and Crafts Act was passed in 1990 (McMaster Vision, Space, Desire 2006 p.18) to preserve the ideal that authentic indian art has been protected. Why wasn't this act originated much sooner than 1990? I am shocked and saddened. I only wish there were considerations given to Canadian and Latin American indigenous artists. I enjoy how McMaster explains the ideal of Colonialism and I'm saddened by how Neocolonial predicaments that remain for the indigenous cultures in the Americas and Australia. I am convinced that the Symposium brought about some great measures of Indian culture reform and the title Vision, Space, Desire brought about inclusion of indigenous cultures rather than exclusion. I remain heavy-hearted about the national challenges of violence, alcohol and poverty of the Native American communities.
Paul Chatt Smith's segment on Delta One Fifty was a fantastic read for me. Paul gave an excellent summation in explaining how the world as we know it became in disrepair after Columbus's 2nd Voyage. Wow, what an analogy. I had never before viewed this position as Paul had stated. True, yet sobering. Paul's position as curator for the National Museum of the American Indian allows us uninformed americans to try to understand the naturalized customs of Native Americans. Even those very naturalized customs are flawed and suspect to be misunderstood on many levels. In summation for me, I didn't initially understand the interconnections of Venice, Italy as the locale to represent the Biennale of Native American education. After understanding Jean Fisher's existing reflections, Silah Hassan's urgency to exhibit in the public domain and Jolene Rickard's intent to make indigenous artists recognized, I have a far greater grasp of the enormity of conclusions of Native American Art and it's ideals. I have a much greater appreciation for Native American and indigenous cultures wherever they exist worldwide.
The act was passed in 1990 because that was when it was important to those with money. They had invested in what they believed was Native American art, and I mean invested financially not emotionally. When it was learned their works of art were not the real thing they complain and set up rules. Other stories are told, other excuses are given, some Nations/Tribes agreed some thought it was just more white man rules. The leading source for what is considered authentic is the Heard Museum in AZ or this museum. I would not believe galleries at all. I would trust my art/heart and admire/purchase art that spoke to me.
DeleteWe as Americans are moving away from some of our stereotypes of Native peoples/Asian/etc. I watch movies now that I watched much younger and cringe at the blatant stereotypes I see that didn't bother me when I was 5, or 8, or 10. I know know that those steretypes do a diservice to the complex variety one ethnicity can contain. Example--I've been rewatching old black and white TV like "The Rifle Man" and "The Lone Ranger."
DeleteFortin talks about building facilities where Native and non Native build/create/talk together. I totally agree; we stop "othering" when we truly come to know people outside of our own world.