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Intertwined Intermediaries: Fundamental Issues in Twentieth-Century Native American Art.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Intertwined Intermediaries: Fundamental Issues in Twentieth-Century Native American Art./
作者:	Montiel, Anna-Karenina Kornakova.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	275 p.
附註:	Source: Dissertations Abstracts International, Volume: 80-02, Section: A.
Contained By:	Dissertations Abstracts International80-02A.
標題:	American studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10927856
ISBN:	9780438194267

Intertwined Intermediaries: Fundamental Issues in Twentieth-Century Native American Art.
Montiel, Anna-Karenina Kornakova.

Intertwined Intermediaries: Fundamental Issues in Twentieth-Century Native American Art. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 275 p.

Source: Dissertations Abstracts International, Volume: 80-02, Section: A.

Thesis (Ph.D.)--Yale University, 2018.

This item must not be added to any third party search indexes.

This dissertation project, "Intertwined Intermediaries: Fundamental Issues in Twentieth-Century Native American Art," examines pervasive issues entangled in art created by Native Americans and Alaska Natives in the United States. The study of Native art, unlike art by other American cultural groups, has been complicated by external forces which often act in concert with one another, primarily: arts economic development initiatives, federal authority over Indian tribes, and the politics of museum representation. Through analyzing federal records, university and private archives, museum exhibition catalogues, Native art collections, and interviews with Native artists, I argue that these issues have been crucial in shaping how Native art is created, marketed, and viewed in the United States. The chapters analyze the origins and effects of each issue reflected through case studies drawn from Native art projects, federal programs, and art exhibitions. Moreover, each chapter provides examples of Native people taking control their art production and presentation. The first chapter provides an introduction to past and present discussions in Native art history, highlighting critical artists, artworks, and exhibitions from the United States in order to illustrate broad conceptual issues. It addresses types of Native art school tutelage, the role of non-Native patrons and intermediaries, the dichotomy between historic and contemporary Native art, and efforts towards a global Indigenous art movement. The chapter draws examples from various mediums. The second chapter, "Culture and Commerce: William Spratling's Native Arts Enterprise for Alaska," explores the relationship between Native art and economics, particularly how Indigenous art became an economic development strategy for Native tribes and communities. Non-Native patrons and intermediaries often adapted Native art forms and influenced art production towards fitting the demands of the tourist market. In 1948, American silver designer William Spratling employed this model to train Inuit veterans as silversmiths in Mexico to counter unemployment in Alaska. The third chapter, "Federal Intervention in Native Art: The Shifting Policies of the Indian Arts and Crafts Board," examines the role of the federal government in Native arts production and regulation through the policies of the Indian Arts and Crafts Board (IACB), a government agency created in 1935 to support and promote Native arts. The IACB's policies and programs mirror federal Indian policies since 1935, specifically paternalistic cultural pluralism, assimilative termination, and Indigenous self-governance. Museums, as institutions of scholarship and knowledge, have influenced how Native art is viewed and interpreted by others. The fourth chapter, "Indigenous Reclamation and Resistance: The Politics of Repatriation and Curating Native Art in the 1990s," analyzes how the repatriation law NAGPRA and the events surrounding the 1992 Columbian Quincentennial affected how museums would collect, store, curate, and present Native art and material culture. These two landmark events changed museums behind-the-scenes through altering collections management policies and in the public eye by implementing Indigenous curatorial practices. The intertwined issues of arts economic development enterprises, federal art policies and regulations, and the politics of museum representation have complicated discussions of Native art, and, by extension, how Native artistic expressions are produced, marketed, sold, valued, and viewed in the United States. Since the late 1940s, however, Indigenous self-determination efforts extended to the Native art world, decentralizing and diversifying systems of power. Each chapter presents examples of Native people defining Native art on their terms which resulted in systematic changes in Native art policy and curation, advancing methods to indigenize the art world.

ISBN: 9780438194267Subjects--Topical Terms:

2122720
American studies.
Subjects--Index Terms:

American Art

Intertwined Intermediaries: Fundamental Issues in Twentieth-Century Native American Art.
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500 $a Source: Dissertations Abstracts International, Volume: 80-02, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Blackhawk, Ned.
502 $a Thesis (Ph.D.)--Yale University, 2018.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a This dissertation project, "Intertwined Intermediaries: Fundamental Issues in Twentieth-Century Native American Art," examines pervasive issues entangled in art created by Native Americans and Alaska Natives in the United States. The study of Native art, unlike art by other American cultural groups, has been complicated by external forces which often act in concert with one another, primarily: arts economic development initiatives, federal authority over Indian tribes, and the politics of museum representation. Through analyzing federal records, university and private archives, museum exhibition catalogues, Native art collections, and interviews with Native artists, I argue that these issues have been crucial in shaping how Native art is created, marketed, and viewed in the United States. The chapters analyze the origins and effects of each issue reflected through case studies drawn from Native art projects, federal programs, and art exhibitions. Moreover, each chapter provides examples of Native people taking control their art production and presentation. The first chapter provides an introduction to past and present discussions in Native art history, highlighting critical artists, artworks, and exhibitions from the United States in order to illustrate broad conceptual issues. It addresses types of Native art school tutelage, the role of non-Native patrons and intermediaries, the dichotomy between historic and contemporary Native art, and efforts towards a global Indigenous art movement. The chapter draws examples from various mediums. The second chapter, "Culture and Commerce: William Spratling's Native Arts Enterprise for Alaska," explores the relationship between Native art and economics, particularly how Indigenous art became an economic development strategy for Native tribes and communities. Non-Native patrons and intermediaries often adapted Native art forms and influenced art production towards fitting the demands of the tourist market. In 1948, American silver designer William Spratling employed this model to train Inuit veterans as silversmiths in Mexico to counter unemployment in Alaska. The third chapter, "Federal Intervention in Native Art: The Shifting Policies of the Indian Arts and Crafts Board," examines the role of the federal government in Native arts production and regulation through the policies of the Indian Arts and Crafts Board (IACB), a government agency created in 1935 to support and promote Native arts. The IACB's policies and programs mirror federal Indian policies since 1935, specifically paternalistic cultural pluralism, assimilative termination, and Indigenous self-governance. Museums, as institutions of scholarship and knowledge, have influenced how Native art is viewed and interpreted by others. The fourth chapter, "Indigenous Reclamation and Resistance: The Politics of Repatriation and Curating Native Art in the 1990s," analyzes how the repatriation law NAGPRA and the events surrounding the 1992 Columbian Quincentennial affected how museums would collect, store, curate, and present Native art and material culture. These two landmark events changed museums behind-the-scenes through altering collections management policies and in the public eye by implementing Indigenous curatorial practices. The intertwined issues of arts economic development enterprises, federal art policies and regulations, and the politics of museum representation have complicated discussions of Native art, and, by extension, how Native artistic expressions are produced, marketed, sold, valued, and viewed in the United States. Since the late 1940s, however, Indigenous self-determination efforts extended to the Native art world, decentralizing and diversifying systems of power. Each chapter presents examples of Native people defining Native art on their terms which resulted in systematic changes in Native art policy and curation, advancing methods to indigenize the art world.
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792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10927856

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