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Indian Craze : Primitivism, Modernism, and Transculturation in American Art, 1890-1915 by Elizabeth Hutchinson (2009, Trade Paperback)
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About this product
Product Identifiers
PublisherDuke University Press
ISBN-100822344084
ISBN-139780822344087
eBay Product ID (ePID)71814227
Product Key Features
Book TitleIndian Craze : Primitivism, Modernism, and Transculturation in American Art, 1890-1915
Number of Pages277 Pages
LanguageEnglish
Publication Year2009
TopicArt, United States / 20th Century, History / Contemporary (1945-), Ethnic Studies / Native American Studies, Native American
IllustratorYes
GenreArt, Social Science, Antiques & Collectibles, History
AuthorElizabeth Hutchinson
Book SeriesObjects/Histories Ser.
FormatTrade Paperback
Dimensions
Item Height0.9 in
Item Weight25.6 Oz
Item Length10 in
Item Width7 in
Additional Product Features
LCCN2008-048037
TitleLeadingThe
Reviews“ The Indian Craze is not only a delight to read; it is a major contribution to American visual cultural studies. Wearing her erudition lightly, Elizabeth Hutchinson participates in and adds appreciably to the transcultural critiques that so many of us are interested in now.�- Janet C. Berlo , co-author of Native North American Art, " The Indian Craze is a lucid and compelling account of the entangled histories of Native and European-American aesthetic and intersubjective exchange in the formative years of American modernism. Told with deep historical understanding, it restores subjecthood and agency to Native artists too often deprived of both by the persistence of primitivizing attitudes. Such studies as Elizabeth Hutchinson's offer a very different, insistently hybrid history of modernism, sensitive to the ethical ambiguities that reside in virtually every instance of uneven encounter between colonizer and colonized. This is a long-awaited contribution to how we understand the complex cultural negotiations attendant on the growing aesthetic value accorded to Native arts around the turn-of-the-century."- Angela Miller , lead author of American Encounters: Art, History, and Cultural Identity, “ The Indian Craze is a lucid and compelling account of the entangled histories of Native and European-American aesthetic and intersubjective exchange in the formative years of American modernism. Told with deep historical understanding, it restores subjecthood and agency to Native artists too often deprived of both by the persistence of primitivizing attitudes. Such studies as Elizabeth Hutchinson’s offer a very different, insistently hybrid history of modernism, sensitive to the ethical ambiguities that reside in virtually every instance of uneven encounter between colonizer and colonized. This is a long-awaited contribution to how we understand the complex cultural negotiations attendant on the growing aesthetic value accorded to Native arts around the turn-of-the-century.�- Angela Miller , lead author of American Encounters: Art, History, and Cultural Identity, " The Indian Craze is not only a delight to read; it is a major contribution to American visual cultural studies. Wearing her erudition lightly, Elizabeth Hutchinson participates in and adds appreciably to the transcultural critiques that so many of us are interested in now."- Janet C. Berlo , co-author of Native North American Art, "The Indian Crazeis not only a delight to read; it is a major contribution to American visual cultural studies. Wearing her erudition lightly, Elizabeth Hutchinson participates in and adds appreciably to the transcultural critiques that so many of us are interested in now." Janet Berlo, co-author ofNative North American Art"The Indian Crazeis a lucid and compelling account of the entangled histories of Native and European-American aesthetic and intersubjective exchange in the formative years of American modernism. Told with deep historical understanding, it restores subjecthood and agency to Native artists too often deprived of both by the persistence of primitivizing attitudes. Such studies as Elizabeth Hutchinson's offer a very different, insistently hybrid history of modernism, sensitive to the ethical ambiguities that reside in virtually every instance of uneven encounter between colonizer and colonized. This is a long-awaited contribution to how we understand the complex cultural negotiations attendant on the growing aesthetic value accorded to Native arts around the turn-of-the-century." Angela Miller, lead author ofAmerican Encounters: Art, History, and Cultural Identity, " The Indian Craze is a lucid and compelling account of the entangled histories of Native and European-American aesthetic and intersubjective exchange in the formative years of American modernism. Told with deep historical understanding, it restores subjecthood and agency to Native artists too often deprived of both by the persistence of primitivizing attitudes. Such studies as Elizabeth Hutchinson's offer a very different, insistently hybrid history of modernism, sensitive to the ethical ambiguities that reside in virtually every instance of uneven encounter between colonizer and colonized. This is a long-awaited contribution to how we understand the complex cultural negotiations attendant on the growing aesthetic value accorded to Native arts around the turn-of-the-century."-- Angela Miller , lead author of American Encounters: Art, History, and Cultural Identity, " The Indian Craze is an important addition to the art histories of Native North America and the United States alike. Hutchinson convincingly argues that the Anglo art world's interest in Native American art and culture predates World War I, a few decades earlier than has generally been considered. . . . T he Indian Craze shows us the innumerable benefits of attempting the difficult reconstruction of Native voices." - John Ott, Visual Resources, " The Indian Craze revives a politically charged and artistically productive era, while challenging the binarism modern/antimodern art. . . . As Hutchinson effortlessly engages with the discourse on modernity, she also mindfully reveals that Native American art in all its forms is not a subclass of America's art history, but is, in fact, part of its continuum, which early and substantially contributed to the 'conversation' about what counts as American art." - Linda M. Waggoner, Great Plains Quarterly, "Hutchinson's study demonstrates superior scholarship. It is detailed and nuanced and builds a complex and convincing argument. The Indian Craze provides a welcome and highly readable addition to the existing scholarship on this period." - Jennifer McLerran, Journal of Arizona History, " The Indian Craze is not only a delight to read; it is a major contribution to American visual cultural studies. Wearing her erudition lightly, Elizabeth Hutchinson participates in and adds appreciably to the transcultural critiques that so many of us are interested in now."-- Janet C. Berlo , co-author of Native North American Art, "Hutchinson's framework of cultural contextualization makes this a dynamic look at a compelling (and under-researched) topic. Illustrated with both black and white and color plates, this book is recommended for academic and non-academic audiences interested in the topics of American art, Native art, education, racial politics, or American history. It is a book that will spark curiosity and serve as the basis for future scholarship." - Heather Kline, ARLIS/NA Reviews, "The stakes and interest of this excellent study go much beyond the limits of its specific historic topic, the sudden fashion of Native American art around 1900. . . . Hutchinson's book will provide the reader with many valuable insights in mainly three fields. . . . First, it offers a careful and well-balanced description of what the Indian craze actually meant. . . . Second, the book is also a key contribution to a new understanding of modernism in Western art and culture. . . . Third, Indian Craze is also a major contribution to the issue of transcultural hybridization." - Jan Baetens, Leonardo, "While the experience of modernism in less urban western places was no doubt different, modernism still must have been present. Without the insights of Hutchinson's book, however, historians could not even begin to identify modernism in rural America at the turn of the twentieth century. In short, The Indian Craze is a potentially paradigm-shifting book, one that will force new discussions of who participates in the modern world and how." - Flannery Burke, Journal of American History, "[T]his well-crafted, innovative, and readable work is a must for any serious collection of American art history. Highly recommended. Lower-level undergraduates and above; general readers." - A. Wirkkala, Choice
Dewey Edition22
Dewey Decimal709/.01/1
Table Of ContentList of Illustrations ix Acknowledgments xiii Introduction 1 1. Unpacking the Indian Corner 11 2. The White Man's Indian Art: Teaching Aesthetics at the Indian Schools 51 3. Playing Indian: Native American Art and Modern Aesthetics 91 4. The Indians in Käsebier's Studio 131 5. Angel DeCora's Cultural Politics 171 Epilogue 221 Notes 235 Selected Bibliography 263 Index 267
SynopsisAn historical examination of the early-twentieth-century Indian Craze, a widespread interest in Native American art, that explores its importance for Native Americans, Euro Americans, and the history of modernism., In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, "Indian stores," dealers, and the U.S. government's Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called "Indian corners." Elizabeth Hutchinson identifies this collecting as part of a larger "Indian craze" and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World's Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of "traditional" Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as "art." While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude K sebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture., In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, "Indian stores," dealers, and the U.S. government's Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called "Indian corners." Elizabeth Hutchinson identifies this collecting as part of a larger "Indian craze" and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World's Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of "traditional" Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as "art." While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.
LC Classification NumberE98
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