ART HISTORY 415

Modern Native American Art

Suzanne Newman Fricke

Email: suzanne@fricke.co.uk

Web address: www.gofigure.org/suzanne/modern

Course Information: This class will explore the developments made by Native American artists in the United States and Canada from the late nineteenth century to the present day. These arts include historic forms such as beadwork, mask carving, and ceramics, as well as techniques learned from Euro-American sources, including architecture, printmaking, photography and easel painting. Lectures, reading assignments, classroom presentations and individual research assignments will address the work of individual artists, changing patronage systems, the use of newly available materials, and changing attitude of the United States government toward the production of Native art forms. The course will provide a historical background for the work and also address the critical issues around which they were made. The study of Native American art history raised many questions, such as: identity (According to law, who can be considered a Native American, and how does this identification affect the production and sale of their art); legal issues (including repatriation and the 1990 Native American Graves Protection and Repatriation Act, or NAGPRA); the rise of the tourist market and the creation of souvenirs; and the different modes of display for the art at museums, world’s fairs, and in art galleries.

Note: In compliance with the Americans with Disabilities Act, qualified students with disabilities needing appropriate allowances should contact the instructor as soon as possible to ensure that your needs are met in a timely manner.

Academic Honesty: UNM's policies on cheating may be found at http://www.unm.edu/~brpm/r48.htm. Cheating can result in a failing grade for the course or dismissal from the University.

Class Attendance: Given that the majority of the material will be covered in class, it is imperative that you attend and that you take comprehensive lecture notes. If you are unable to come to class on a particular day, it is useful to let the professor know as soon as possible and obtain lecture notes from at least three students in the class.

Class Readings: Reading is extremely important to your understanding of the material in this class. Students are expected to complete 50-200 pages of reading each week and to research their projects. Assigned readings are listed on the course syllabus by week; the readings are available on reserve in the library. It is important to read the material in a timely fashion and to review the material before each exam. Be prepared to answer questions on the readings in the exams.

Dropping the Course: If you choose to drop the course, you are responsible for reporting the change to the registrar's office. If you stop coming to class and do not contact the registrar, you will receive a failing grade, even if you attended only once.

Course Evaluation: Please note that graduate and undergraduates will be judged according to separate standards. Graduate students will be expected to be more detailed and analytical in their papers and exams.

Exam One: 20%

Exam Two: 20%

First Paper: 15%

Second Paper: 35%

Class Participation: 10%

Examinations: This class will have two equally weighted exams and neither is cumulative. Each will last about half the class period, or one hour and fifteen minutes. The exams will cover material and from the classroom lectures and discussions and from the assigned readings. The exams consist of:

10 Slide Identifications: You will be expected to know the artist, title, date, and location for each piece as it is written on the slide list.

5 Short Answer Questions: These include defining important terms, discussion of styles, and historical information.

1 Compare/Contrast Essay: Compare/Contrast essays are perhaps the most widely used and poorly understood aspect of an art history class. We will discuss the proper format for a compare/contrast essay before the first exam.

Before each exam, a slide list will be posted on my web page which will contain approximately 40-50 images. Each piece is identified by: artist’s name, tribal affiliation, title, date, and location (for buildings or other site specific objects). These examples will appear on the test in various forms: as identifications, in the compare/contrast essays, or as part of the short answer questions. Learning these examples in vital to passing the exam. The best way to learn these works is to create a set of flash cards with the image on one side (a Xerox copy, downloaded image, or your own drawing) and the pertinent information on the back. If the class is cancelled on the exam date, the exam will take place on the next class day. Otherwise the exams will occur on the days indicated on the syllabus whether or not we have covered all the information listed; exams will only cover topics covered in class. There are no makeup examinations. If you have a compelling reason for missing an exam, you must discuss it with the instructor as soon as possible.

If you have been tested by the school as learning disabled, it is imperative that you let me know as soon as possible. It is best that you come and meet with me during the first week of classes. I am happy accommodate any student who needs extra help, but I need at least two weeks to prepare an exam for a student who will not be taking it with the rest of the class.

Paper Assignments: There will be two paper assignments each semester.

Paper guidelines: All written assignments are expected to be turned in at the beginning of class on the due date. Please type the paper or print it out in a legible font (i.e., Times New Roman, Arial, Garamond, or Bookman) using 12 point. Please include copies of pertinent images discussed in the text of your paper. You do not need a title page or a cover; put the title of the paper across the top of the first page. Your name must be typed at the top of each page and the pages must be stapled. Papers will lose one grade (i.e., from B to C) per day they are late. Spelling and grammar are important to the clarity of your ideas; poor writing will lower your grade. I am happy to read an outline or a draft of your paper provided there is sufficient time. Be sure that the paper is well organized with a central thesis that is supported by your arguments and has an informative introduction and conclusion.

First Paper, Due September 23: The first paper will be a review of a gallery or museum show of work of contemporary art by a Native artist. This paper should be approximately 3-5 pages long for undergraduates and about 8-10 for graduates. It should address the formal qualities and put the work into a historical/cultural context; graduate students are expected to include more background and offer a more critical assessment of the work. Before beginning this paper, be sure to get the topic approved by the professor either in class or by email. Whenever possible, include an illustration of the piece; many galleries offer printed cards or, if using a museum piece, there may be a catalog with an image that could be copied. Make sure your paper is about artworks and not a biography of an artist. Select pieces that interest you. The best works to write about usually possess a degree of complexity that challenges you. An artwork that is too straightforward and understandable gives you very little to write about beyond stating the obvious. The purpose of the paper is to make you aware of your vision and its importance for your engagement with the art. Henry Sayre’s book Writing About Art and Barnet’s A Short Guide to Writing about Art are excellent guides to describing, analyzing and interpreting art and architecture.

I WILL GRADE YOU ON THE FOLLOWING:

Substance:

• Do your chosen pieces fit the topic well?

• Does your paper have a clear and sufficiently narrow focus?

• Does it contain some of your own thoughts?

• Do you answer questions or explain why you were not able to answer them?

• Do you supportpoints with information and examples?

• Is your information accurate?

Organization:

• Do you include an introduction and a conclusion?

• Are individual paragraphs well-structured?

• Are paragraphs arranged in logical order?

Mechanics

• Is your writing clear and understandable?

• Grammar and spelling

• Proper format for bibliography and notes

Second Paper, Due December 2: The second paper will be a longer research paper, approximately 8-12 pages long for undergraduates and about 20 for graduate students, focusing on a single artist or project. Students are expected to research their topic using at least 10 appropriate sources, including at least 3 articles; this specification is intended to help students become more familiar with finding articles as they provide the most specific and up-to-date information. Websites are not always regulated and are therefore unreliable sources; they may be included but they do not count towards your 10 sources. You must include a bibliography and use either footnotes or endnotes to cite sources. If you are unsure about the proper citation form for your sources, please consult Kate L. Turabian’s A Manual for Writers or The Chicago Manual of Style. On September 30, you must be prepared to list your topic in class. On October 28, a paragraph explaining your thesis statement and a preliminary bibliography listing proposed sources for your paper is due. This will help to make sure that your topic is properly defined and allow me to help you find useful sources.

Be careful not to use too many quotes, which can be distracting. Generally, you only want to quote things that are so eloquently and clearly phrased that paraphrasing it (putting it into your own words) results in a loss of impact. Another occasion to use a quote would be if a renowned scholar or someone close to the artist said something relevant to the argument you are making in your paper. Their words may not be exactly profound, but they are important nonetheless because of who said them. Long quotes (taking up 4 lines or more) should be indented on the left and right margins and should be single-spaced rather than double-spaced.

YOUR PAPER MUST INCLUDE THE FOLLOWING:

• One or more illustrations of the art objects.

• Footnotes or end notes

• A bibliography

I WILL GRADE YOU ON THE FOLLOWING:

Substance:

• Have you chosen an appropriate topic for the class?

• Does your paper have a clear and sufficiently narrow focus?

• Does it include evidence of research?

• Does it contain some of your own thoughts?

• Do you have an introduction and conclusion? Supporting evidence:

• Do you answer questions or explain why you were not able to answer them?

• Do you support points with information and examples?

• Is your information accurate?

• Have you carefully footnoted or end noted direct quotes, information, and ideas paraphrased from other scholars?

Organization:

• Do you include an introduction and a conclusion?

• Are individual paragraphs well-structured?

• Are paragraphs arranged in logical order?

Mechanics

• Is your writing clear and understandable?

• Grammar and spelling

• Proper format for bibliography and notes

Course Out1ine

The readings are on reserve in the SFCC library. Titles with call numbers are books while other readings are Xeroxed copies at the reserve desk under my name with the marking PC (personal copy). PC1 is a copy of the syllabus and the others are listed by the last name of the author.

Week One, August 26: Course Introduction; Issues in Native American art studies

Week Two, September 2: Defining the “Traditional” in Native American Art

Readings:

Janet Catherine Berlo and Ruth Phillips, Chapter One, “An Introduction to the Indigenous Arts of North America,” in Native North American Art. (New York, New York: Oxford University Press, 1998): 1-35.

Edwin Wade, “Introduction: What Is Native American Art,” in Edwin Wade, editor, The Arts of the North American Indian: Native Traditions in Evolution. (New York, New York: Hudson Hills Press, Inc., 1986): 15-20 (in your reading, focus on pp.15-17, not on chapter descriptions).

J.C.H. King, “Traditions in Native American Art,” in Edwin Wade, editor, The Arts of the North American Indian: Native Traditions in Evolution. (New York, New York: Hudson Hills Press, Inc., 1986): 65-92

Ralph T. Coe, Chapter 3, “Timeless Works of Art,” and Chapter Four, “Tradition: Speaking to the Present, Respecting the Past,” in Lost and Found Traditions: Native American Art 1965-1985. (Seattle, Washington: University of Washington Press, 1986): 31-50.

William C. Sturtevant, “The Meanings of Native American Art,” in Edwin Wade, editor, The Arts of the North American Indian: Native Traditions in Evolution. (New York, New York: Hudson Hills Press, Inc., 1986): 23-44.

Week Three, September 9: Modes of Display, Part I: Curio Cabinets, Pitt Rivers Museum, Franz Boas, and Stewart Culin

Readings:

William Ryan Chapman, “Arranging Ethnology: A.H.L.F. Pitt Rivers and the Typological Tradition,” in George W. Stocking, Jr., Objects and Others: Essays on Museum and Material Culture. (Madison, Wisconsin: University of Wisconsin Press, 1985): 15-48.

Ira Jacknis, “Franz Boas and Exhibits: On the Limitations of the Museum Method of Anthropology,” in George W. Stocking, Jr., Objects and Others: Essays on Museum and Material Culture. (Madison, Wisconsin: University of Wisconsin Press, 1985): 75-111.

Diana Fane, “The Language of Things: Stewart Culin as Collector,” in Diana Fane, Ira Jacknis, and Lise M. Breen, editors. Objects of Myth and Memory: American Indian Art at the Brooklyn Museum. (Seattle, Washington: University of Washington Press, 1991): 13-28.

Douglas Cole, Chapter 11, “Themes and Patterns,” in Captured Heritage: The Scramble for Northwest Coast Artifacts. (Norman, Oklahoma: University of Oklahoma Press, 1995): 286-311.

Week Four, September 16: Bureau of Indian Affairs and the Indian Arts and Crafts Board; The 1931 Exposition of Tribal Arts and the 1941 MOMA Show

Readings:

Molly H. Mullin, “The Patronage of Difference: Making Indian Art ‘Art, Not Ethnology’,” in George E. Marcus and Fred R. Myers, editors, The Traffic in Culture: Refiguring Art and Anthropology. (Berkeley, California: University of California Press, 1995): 166-198.

Robert Fay Schrader, Chapter 6, “The Indian Arts and Crafts Board,” The Indian Arts and Crafts Board: An Aspect of New Deal Indian Policy. (Albuquerque, New Mexico: The University of New Mexico Press, 1983): 105-123.

Diana Nemiroff, “Modernism, Nationaism, and Beyond: A Critical History of Exhibitions of First Nations Art,” in Diana Nemiroff, Robert Houle, and Charlotte Townsend-Gault. Land Spirit Power: First Nations at the National Gallery of Canada. (Ottawa, Canada: National Gallery of Canada, 1992): 15-42.

Oliver La Farge and John Sloan, Chapter One, Introduction to American Indian Art. (New York, New York: The Exposition of Indian Tribal Arts, Inc., 1931).

Frederick Douglas and Rene d’Harnoncourt, Indian Art of the United States. (New York, New York: Museum of Modern Art, 1941): 9-15, 197-21.

Week Five, September 23: Early Twentieth-Century Native Art from California and the Plateau Region: The Rise of Tourism

FIRST PAPER DUE

Readings:

Marvin Cohodas, “Louisa Keyser and the Cohns: Mythmaking and Basket Making in the American West,” in Janet Catherine Berlo, editor, The Early Years of Native American Art History. (Seattle, Washington: University of Washington Press, 1992): 88-133.

Barbara Loeb, Glass Tapestry Plateau Beaded Bags from the Elaine Horwitch Collection. (Phoenix, Arizona: Heard Museum, 1993).

Week Six, September 30: Contemporary Art from the Inuit and from the Northwest Coast

Discussion of topics for second paper

Readings:

Kristin K. Potter, “James Houston, Armchair Tourism, and the Marketing of Inuit Art,” in W. Jackson Rushing, III, editor, Native American Art in the Twentieth Century: Makers, Meanings, Histories. (London and New York: Routledge Press, 199): 39-56.

Janet Catherine Berlo, “Drawing (Upon) the Past: Negotiating Identities in Inuit Graphic Arts Production,” in Phillips, Ruth B., and Christopher B. Steiner. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds. (Berkeley, California: University of California Press, 1999): 178-196.

Aldonatis Jonaitis, “Northwest Coast Totem Poles,” in Phillips, Ruth B., and Christopher B. Steiner. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds. (Berkeley, California: University of California Press, 1999): 104-121.

Odette Leroux, Marion E. Jackson, and Minnie Aodla Freeman, editors, Inuit Women Artists: Voices from Cape Dorset. (San Francisco, California: 1996): 14-40.

Patricia Sutherland, “The History of Inuit Culture,” in In the Shadow of the Sun: Perspectives on Contemporary Native Art. (Hull, Quebec: The Canadian Museum of Civilization, 1993): 313-332.

Jean Blodgett, Three Women, Three Generations : Drawings by Pitseolak Ashoona, Napatchie Pootoogook and Shuvinai Ashoona. (Kleinburg, Ontario: McMichael Canadian Art Collection, 1999): 19-28; 77-94.

Week Seven, October 7: Early Twentieth-Century Native Art from the Southwest

FIRST EXAM

Readings:

Edwin L. Wade, “The Ethnic Art Market in The American Southwest, 1880-1980,” in George W. Stocking, Jr., Objects and Others: Essays on Museum and Material Culture. (Madison, Wisconsin: University of Wisconsin Press, 1985): 167-191.

Barbara Babcock, “Marketing Maria: The Tribal Artist in the Age of Mechanical Reproduction,” in Brenda Jo Bright and Liza Bakewell, editors, Looking High and Low. (Tucson, Arizona: University of Arizona Press, 1995): 124- 150.

Andrew Whitehead, Chapter 8, “The State of the Art and its Future,” Southwestern Indian Baskets: Their History and Their Makers. (Santa Fe, New Mexico: School of American Research Press, 1988): 171-185.

Marta Weigle, “‘To Experience the Real Grand Canyon’: Santa Fe/Harvey Panopticism, 1901-1935,” in Marta Weigle and Barbara A. Babcock, editors, The Fred Harvey Company and the Santa Fe Railway. (Phoenix, Arizona: The Heard Museum, 1996): 13-23.

Diana Pardue, “Marketing Ethnography: The Fred Harvey Indian Department and George A. Dorsey,” in Marta Weigle and Barbara A. Babcock, editors, The Fred Harvey Company and the Santa Fe Railway. (Phoenix, Arizona: The Heard Museum, 1996): 102-109.

Week Eight, October 14: Fall Break

Week Nine, October 21: From the Santa Fe Indian Market to the Institute of American Indian Arts

Readings:

Bruce Bernstein, “Contexts for the Growth and Development of the Indian Art World in the 1960s and 1970s,” in W. Jackson Rushing III, editor, Native American Art in the Twentieth Century. (New York, New York: Routledge, 1999): 57-71.

Rick Hill, Chapter One, Creativity Is Our Tradition: Three Decades of Contemporary Indian Art at the Institute of American Indian Arts. (Santa Fe, New Mexico: Institute of American Indian and Alaska Native Culture and Arts Development, 1992).

Edwin Wade, “The Ethnic Art Market and the Dilemma of Innovative Artists,” in Edwin L. Wade and Rennard Strickland, editors, Magic Images: Contemporary Native American Art. (Norman, Oklahoma: University of Oklahoma Press, 1981): 9-17.

Nancy J. Parezo, “A Multitude of Markets,” Journal of the Southwest 32:4 (1990): 563-575.

Week Ten, October 28: Development of Easel Painting: Kiowa Five, The Santa Fe Studio, Norval Morrisseau, and others

THESIS STATEMENT AND PRELIMINARY BIBLIOGRAPHY DUE

Readings:

Tryntje Van Ness Seymour, “Easel Painting in the Southwest,” in Tryntje Van Ness Seymour, When the Rainbow Touches Down. (Seattle, Washington: University of Washington Press, 1988): 19-24.

J.J. Brody, Chapter 3, “A Tradition Is Born,” in Pueblo Indian Painting. (Santa Fe, New Mexico: School of American Research, 1997): 36-69.

J.J. Brody, “The Transition to the Mainstream,” in Indian Painters and White Patrons. (Albuquerque, New Mexico: The University of New Mexico Press, 1971).

Elizabeth McLuhan, Norval Morrisseau and the Emergence of the Image Makers. (New York, New York: Methuen, 1984): 28-74;

Warner, “Nature and Spirit in Contemporary Native Manitoba Painting,” American Indian Art Magazine, 15:2 (Spring 1990): 38-47.

Week Eleven, November 4: Modes of Display, Part II: The “Primitivism” Show and the Rise of Native–Run Museums

Readings:

Nancy J. Fuller, “The Museum as a Vehicle for Community Empowerment The Ak-Chin Indian Community Ecomuseum Project,” in Ivan Karp, Christine Mullen Kreamer, and Steven D. Lavine, editors, Museums and Communities: The Politics of Public Culture. (Washington, D.C.: Smithsonian Institution Press, 1992): 327-365.

James Clifford, Chapter 9, “Histories of the Tribal and the Modern,” in Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art.. (Cambridge, Massachusetts: Harvard University Press, 1988): 189-214.

Marianna Torgovnick, Chapter 6, “William Rubin and the Dynamics of Primitivism,” Gone Primitive: Savage Intellects, Modern Lives. (Chicago, Illinois: University of Chicago, 1990): 119-137.

Aldona Jonaitis, “Chiefly Feasts: The Creation of an Exhibition,” in Aldona Jonaitis, editor, Cheifly Feasts: The Enduring Kwakiutl Potlatch. Seattle, Washington: University of Washington Press, 1991): 21-70.

William Rubin, “Primitivism” in Twentieth Century Art: Affinity of the Tribal and the Modern. (New York, New York: Museum of Modern, 1984): 85-97.

Week Twelve, November 11: 1990 NAGPRA; Indian artist – or artist who is Indian? The question of identity in the work of Fritz Scholder, Jimmy Durham, Kay WalkingStick, and others.

Readings:

Fritz Scholder, “Scholder on Scholder,” American Indian Art Magazine 1:2 (Spring 1976): 50-55.

Jamake Highwater, “Fritz Scholder,” in The Sweetgrass Lives On. (New York: Lippincott and Crowell, 1980).

Judy Collischan and Holland Cotter, Kay WalkingStick: Paintings, 1974-1990. (New York, New York: Hillwood Art Museum, Long Island University, 1991).

Jimmie Durham, “This Ground Has Been Covered,” Artforum (Summer 1988): 99-105.

Laura Mulvey, “Survey,” and Jimmie Durham, “Writings”, in Jimmie Durham. (London: Phaidon, 1995).

Gloria Cranmer Webster, “From Colonization to Repatriation,” in Gerald McMaster and Lee-Ann Martin, editors, Indigena : Contemporary Native Perspectives. (Vancouver: Douglas & McIntyre ; Hull, Quebec : Canadian Museum of Civilization, 1992).

Rennard Strickland and Margaret Archuleta, “The Way People Were Meant to Live: The Shared Visions of Twentieth Century Native American Painters and Sculptors,” in Shared Visions. (Phoenix, Arizona: The Heard Museum, 1991).

Week Thirteen, November 18: Contemporary Issues in Contemporary Native Art: James Luna, Shelley Niro, Harry Fonseca, Diego Romero, and others

Readings:

Alan Ryan, Chapter One, “The Trickster Shift,” and Chapter 2, “The Re/Creation of Identity,” in The Trickster Shift: Humour and Irony in Contemporary Native Art. (Seattle, Washington: University of Washington Press, 1999): 3-91.

Rebecca Belmore, Rebecca Belmore : The Named and the Unnamed. (Vancouver: Morris and Helen Belkin Art Gallery, 2003).

Lori Blondeau and Bradlee Larocque, “Surreal, Post-Indian Subterranean Blues,” Mix: The Magazine of Artist-Run Culture 23, no. 3 (Winter 1997 / 1998): 46-53.

Rebecca Solnit, “The Postmodern Old West, or the Procession of Cowboys and Indians, Part II: Indians, or Breaking Out of the Picture,” Art Issues 45 (November-December 1996): 26-31.

Charlotte Townsend-Gault, “Ritualizing Ritual's Rituals: Ritual as a Vehicle for Personal and Social Negotiation in Contemporary Native American Art,” Art Journal 51 (Fall 1992): 51-58.

Joseph Traugott, “Native American Artists and the Postmodern Cultural Divide,” Art Journal (Fall, 1992).

Week Fourteen, November 25: Thanksgiving Break

Week Fifteen, December 2: In-Class Presentations

SECOND PAPER DUE

Week Sixteen, December 9: Course Conclusion

FINAL EXAM

Selected Bibliography

http://www.cr.nps.gov/nagpra/

Anderson, Duane. When Rain Gods Reigned: From Curios to Art at Tesuque Pueblo. (Santa Fe, New Mexico: Museum of New Mexico Press, 2002).

--. All That Glitters: The Emergence of Native American Micaceous Art Pottery in Northern New Mexico. (Santa Fe, New Mexico: School of American Research Press, 1999).

--. Legacy: Southwest Indian Art at the School of American Research. (Santa Fe, New Mexico: School of American Research Press, 1999).

Ben-Amos, Paula, “Pidgin Languages and Tourist Arts,” Studies in the Anthropology of Visual Communication 4:2 (Winter, 1977): 128-139.

Berlo, Janet Catherine, and Ruth Phillips. Native North American Art. (New York, New York: Oxford University Press, 1998).

Berlo, Janet Catherine. “Drawing (upon) the Past: Negotiating Identities in Inuit Graphic Arts Production,” in Phillips, Ruth B., and Christopher B. Steiner. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds. (Berkeley, California: University of California Press, 1999): 178-196.

--, editor. The Early Years of Native American Art History. (Seattle, Washington: University of Washington Press, 1992).

Blodgett, Jean. Three Women, Three Generations : Drawings by Pitseolak Ashoona, Napatchie Pootoogook and Shuvinai Ashoona. (Kleinburg, Ontario: McMichael Canadian Art Collection, 1999).

Brody, J.J. Pueblo Indian Painting: Tradition and Modernism in New Mexico, 1900-1930. (Santa Fe, New Mexico: School of American Research, 1997).

--. Indian Painters and White Patrons. (Albuquerque, New Mexico: University of New Mexico Press, 1971).

Chapman, William Ryan. “Arranging Ethnology: A.H.L.F. Pitt Rivers and the Typological Tradition,” in George W. Stocking, Jr., Objects and Others: Essays on Museum and Material Culture. (Madison, Wisconsin: University of Wisconsin Press, 1985): 15-48

Clifford, James. Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art.. (Cambridge, Massachusetts: Harvard University Press, 1988).

Cohodas, Marvin. “Louisa Keyser and the Cohns: Mythmaking and Basket Making in the American West,” in Janet Catherine Berlo, editor, The Early Years of Native American Art History. (Seattle, Washington: University of Washington Press, 1992): 88-133.

Cole, Douglas. Captured Heritage: The Scramble for Northwest Coast Artifacts. (Seattle, Washington: University of Washington Press, 1985).

Douglas, Frederick, and Rene d’Harnoncourt, Indian Art of the United States. (New York, New York: Museum of Modern Art, 1941): 9-15, 197-21.

Fane, Diana, Ira Jacknis, and Lise M. Breen, editors. Objects of Myth and Memory: American Indian Art at the Brooklyn Museum. (Seattle, Washington: University of Washington Press, 1991).

Fane, Diana. “The Language of Things: Stewart Culin as Collector,” in Diana Fane, Ira Jacknis, and Lise M. Breen, editors. Objects of Myth and Memory: American Indian Art at the Brooklyn Museum. (Seattle, Washington: University of Washington Press, 1991): 13-28.

Fuller, Nancy J. “The Museum as a Vehicle for Community Empowerment The Ak-Chin Indian Community Ecomuseum Project,” in Ivan Karp, Christing Mullen Kreamer, and Steven D. Lavine, editors, Museums and Communities: The Politics of Public Culture. (Washington, D.C.: Smithsonian Institution Press, 1992): 327-365.

Gordon, Beverly. “The Niagara Falls Whimsey: The Object as a Symbol of Cultural Interface,” Ph.D. Dissertation, University of Wisconsin-Madison, 1984.

Harjo, Suzan Shown. “Santa Fe Indian Market: 76 Years and Growing,” Native Peoples 11 (February-April, 1998): 32-7.

Haberland, Wolfgang, “Aesthetics in Native American Art,” in Edwin Wade, editor, The Arts of the North American Indian: Native Traditions in Evolution. (New York, New York: Hudson Hills Press, Inc., 1986): 107-131.

Hedlund, Ann Lane. Reflections of the Weaver’s World. (Denver, Colorado: Denver Art Museum, 1992).

Hinsley, Curtis M. “From Shell-Heaps to Stelae: Early Anthropology at the Peabody Museum,” in George W. Stocking, Jr., Objects and Others: Essays on Museum and Material Culture. (Madison, Wisconsin: University of Wisconsin Press, 1985): 49-74.

--. “The World as Marketplace: Commodification of the Exotic at the World’s Columbian Exposition, 1983,” in Ivan Karp and Steven D. Lavine, editors, Exhibiting Cultures: The Poetics and Politics of Museum Display. (Washington, D.C.: Smithsonian Press, 1991): 344-365.

Hoffman, Gerald, editor. In the Shadow of the Sun: Perspectives on Contemporary Native Art. (Quebec: Canadian Museum of Civilization, 1993).

Houle, Robert. “The Spiritual Legacy of the Ancient Ones,” in Diana Nemiroff, Robert Houle, and Charlotte Townsend-Gault. Land Spirit Power: First Nations at the National Gallery of Canada. (Ottawa, Canada: National Gallery of Canada, 1992): 43-74.

Jacknis, Ira. “Franz Boas and Exhibits: On the Limitations of the Museum Method of Anthropology,” in George W. Stocking, Jr., Objects and Others: Essays on Museum and Material Culture. (Madison, Wisconsin: University of Wisconsin Press, 1985): 75-111.

--. “The Road to Beauty: Stewart Culin’s American Indian Exhibitions at The Brooklyn Museum,” in Diana Fane, Ira Jacknis, and Lise M. Breen, editors. Objects of Myth and Memory: American Indian Art at the Brooklyn Museum. (Seattle, Washington: University of Washington Press, 1991): 29-44.

Jonaitis, Aldonatis. “Northwest Coast Totem Poles,” in Phillips, Ruth B., and Christopher B. Steiner. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds. (Berkeley, California: University of California Press, 1999): 104-121.

King, J.C.H. King, “Traditions in Native American Art,” in Edwin Wade, editor, The Arts of the North American Indian: Native Traditions in Evolution. (New York, New York: Hudson Hills Press, Inc., 1986): 65-92.

Kramer, Barbara. “Nampeyo, Hopi House, and the Chicago Land Show,” Indian Art Magazine (Winter, 1988): 46-53.

Krinsky, Carol Herselle. Contemporary Native American Architecture: Cultural Regeneration and Creativity. (Oxford: Oxford University Press, 1996).

La Farge, Oliver, and John Sloan. Introduction to American Indian Art. (New York, New York: The Exposition of Indian Tribal Arts, Inc., 1931).

Leroux, Odette, Marion E. Jackson, and Minnie Aodla Freeman, editors. Inuit Women Artists: Voices from Cape Dorset. (San Francisco, California: 1996).

Lippard, Lucy R. Mixed Blessings: New Art in a Multicultural America. (New york, New York: Pantheon Press, 1990).

McMaster, Gerald, editor. Reservation X. (Fredericton, Canada: Goose Lane Editions, 1998).

Maurer, Evan M., “Determining Quality in Native American Art,” in Edwin Wade, editor, The Arts of the North American Indian: Native Traditions in Evolution. (New York, New York: Hudson Hills Press, Inc., 1986): 144-

Mithlo, Nancy Marie. “IAIA Rocks the Sixties: The Painting Revolution at the Institute of American Indian Arts," Museum Anthropology Volume 24, Number 2/3 Fall 2001.

Mullin, Molly H. “The Patronage of Difference: Making Indian Art ‘Art, Not Ethnology’,” in George E. Marcus and Fred R. Myers, editors, The Traffic in Culture: Refiguring Art and Anthropology. (Berkeley, California: University of California Press, 1995): 166-198.

Nemiroff, Diana, Robert Houle, and Charlotte Townsend-Gault. Land Spirit Power: First Nations at the National Gallery of Canada. (Ottawa, Canada: National Gallery of Canada, 1992).

--. “Modernism, Nationalism, and Beyond: A Critical History of Exhibitions of First Nations Art,” in Diana Nemiroff, Robert Houle, and Charlotte Townsend-Gault. Land Spirit Power: First Nations at the National Gallery of Canada. (Ottawa, Canada: National Gallery of Canada, 1992).

Peterson, Susan. Pottery by American Indian Women: The Legacy of Generations. (New York, New York: Abbeville Press, 1997).

Phillips, Ruth B., and Christopher B. Steiner. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds. (Berkeley, California: University of California Press, 1999).

Phillips, Ruth. “Nuns, Ladies, and the ‘Queen of the Huron’: Appropriating the Savage in Nineteenth-Century Huron Tourist Art,” in Phillips, Ruth B., and Christopher B. Steiner. Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds. (Berkeley, California: University of California Press, 1999): 33-50.

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