Pub Date : 2020-01-01DOI: 10.17953/AICRJ.44.1.LAMBERT
Jessica G. Lambert
Non-Indians have long used Indian reservations as dumping grounds for environmental toxics. My preliminary research suggests an urgent need for further study of the impact of the US-government-owned McAlester Army Ammunitions Plant in the Choctaw Nation on the health of my people and homeland. The plant detonates 45,000 pounds of explosives daily, and tests of the soil, water, and air reveal high levels of cancer-causing toxics. Indians in the area experience numerous health problems, including elevated rates of cancer. Additional research would open the door for environmental remediation and prevention of further harm to tribal members and the environment.
{"title":"Hidden in Plain Sight: The US Government’s Use of the Choctaw Nation as an Environmental Toxics Dumping Ground","authors":"Jessica G. Lambert","doi":"10.17953/AICRJ.44.1.LAMBERT","DOIUrl":"https://doi.org/10.17953/AICRJ.44.1.LAMBERT","url":null,"abstract":"Non-Indians have long used Indian reservations as dumping grounds for environmental toxics. My preliminary research suggests an urgent need for further study of the impact of the US-government-owned McAlester Army Ammunitions Plant in the Choctaw Nation on the health of my people and homeland. The plant detonates 45,000 pounds of explosives daily, and tests of the soil, water, and air reveal high levels of cancer-causing toxics. Indians in the area experience numerous health problems, including elevated rates of cancer. Additional research would open the door for environmental remediation and prevention of further harm to tribal members and the environment.","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":"44 1","pages":"97-112"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67436756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.17953/AICRJ.44.1.PEARLSTEIN
E. Pearlstein
The first quarter of the twentieth century saw Anglo entrepreneurs rapidly develop how-to books, instructional kits, and models for the manufacture of American Indian-style baskets. Purveyors appropriated styles, stitches, and tribal names, and zealously marketed such creations as more affordable than the purchase of an Indigenous basket. Books, imported materials such as raffia and rattan, and stitching methods were disseminated not only across the country and internationally, but to American Indian boarding schools, where instruction not only resulted in appropriation, but also in deculturing the Indigenous basket and Native peoples.
{"title":"Basketmaking Guides and the Appropriation of Indigenous Basketry","authors":"E. Pearlstein","doi":"10.17953/AICRJ.44.1.PEARLSTEIN","DOIUrl":"https://doi.org/10.17953/AICRJ.44.1.PEARLSTEIN","url":null,"abstract":"The first quarter of the twentieth century saw Anglo entrepreneurs rapidly develop how-to books, instructional kits, and models for the manufacture of American Indian-style baskets. Purveyors appropriated styles, stitches, and tribal names, and zealously marketed such creations as more affordable than the purchase of an Indigenous basket. Books, imported materials such as raffia and rattan, and stitching methods were disseminated not only across the country and internationally, but to American Indian boarding schools, where instruction not only resulted in appropriation, but also in deculturing the Indigenous basket and Native peoples.","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":"44 1","pages":"53-72"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67436354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.17953/aicrj.43.4.fricke
Suzanne Fricke
This article charts Durham’s use of “strategic ambiguity,” whereby the uncertainty at the center of the controversy has ultimately served to protect the artist and his livelihood. Durham is the subject of nearly four times more articles and books than any other contemporary artist who identifies as Cherokee. It is almost impossible to interpret Durham’s work outside the perspective of a Cherokee identity. Although some articles offer the usual dual admission—that he identifies as Cherokee and that his heritage has been questioned—they nonetheless offer praise for Durham’s work as both authentically “Native American” and progressive in the contemporary art world. In refuting the various reasons given for the artist’s lack of tribal enrollment, this article emphasizes that art critics’ insistence on referencing Durham’s Cherokee “heritage” is crucial because if the artist is not Native, his work becomes not simply meaningless, but even insulting.
{"title":"Living in a (Schrödinger’s) Box: Jimmie Durham’s Strategic Use of Ambiguity","authors":"Suzanne Fricke","doi":"10.17953/aicrj.43.4.fricke","DOIUrl":"https://doi.org/10.17953/aicrj.43.4.fricke","url":null,"abstract":"This article charts Durham’s use of “strategic ambiguity,” whereby the uncertainty at the center of the controversy has ultimately served to protect the artist and his livelihood. Durham is the subject of nearly four times more articles and books than any other contemporary artist who identifies as Cherokee. It is almost impossible to interpret Durham’s work outside the perspective of a Cherokee identity. Although some articles offer the usual dual admission—that he identifies as Cherokee and that his heritage has been questioned—they nonetheless offer praise for Durham’s work as both authentically “Native American” and progressive in the contemporary art world. In refuting the various reasons given for the artist’s lack of tribal enrollment, this article emphasizes that art critics’ insistence on referencing Durham’s Cherokee “heritage” is crucial because if the artist is not Native, his work becomes not simply meaningless, but even insulting.","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48505733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.17953/aicrj.43.4.reese
Debbie Reese
This commentary essay examines several individuals who wrote books for children and made claims to Native identity that are fraudulent, or otherwise problematic. Asa Carter, for example, posed as a Cherokee named “Forrest Carter” and published The Education of Little Tree, put forth as the autobiography of someone who had been on the Trail of Tears. So popular that it was published in Korean, Turkish, Czeck, Slovenian, and Spanish, in 1997 Little Tree became a feature film. Although the author’s fraud was exposed in The New York Times, the book continues to be published. Jamake Highwater, posing as a Blackfoot/Cherokee, won the most prestigious children’s literature award, the Newbery Honor given by the American Library Association, for Anpao: An American Indian Odyssey, in 1978. Paul Goble is a British writer who loved American Indian stories so much that he moved to the United States to live near Plains tribes, where he was given a Native name. Both that name and the ways he spoke of the gift led people to believe that he had been adopted into the Lakota tribe. Like Carter and Highwater, but more prolific, Goble’s books sell well in a market that retains narrow and stereotypical views of Native peoples. The essay concludes by discussing the ways that the works of Carter, Highwater, and Goble impact publishing today.
这篇评论文章考察了几个为儿童写书的人，他们声称自己的原住民身份存在欺诈或其他问题。例如，阿萨·卡特（Asa Carter）假扮一个名叫“福雷斯特·卡特”（Forrest Carter）的切罗基人，出版了《小树的教育》（The Education of Little Tree），这本书是一位走上眼泪之路的人的自传。它非常受欢迎，以韩语、土耳其语、捷克语、斯洛文尼亚语和西班牙语出版，1997年《小树》成为一部故事片。尽管《纽约时报》揭露了作者的欺诈行为，但这本书仍在继续出版。贾迈克·海沃特（Jamake Highwater）于1978年凭借《安宝：美国印第安人奥德赛》（Anpao:An American Indian Odyssey）获得了最负盛名的儿童文学奖，即美国图书馆协会颁发的纽伯里荣誉奖（Newbery Honor）。保罗·戈布尔是一位英国作家，他非常喜欢美国印第安人的故事，所以他搬到了美国，住在平原部落附近，在那里他被赋予了一个原住民的名字。这个名字和他谈论礼物的方式都让人们相信他是被拉科塔部落收养的。像卡特和海沃特一样，但更为多产的是，戈布尔的书在一个保留着对原住民狭隘刻板看法的市场上卖得很好。文章最后讨论了卡特、海沃特和戈布尔的作品对当今出版业的影响。
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Pub Date : 2019-10-01DOI: 10.17953/aicrj.43.4.mithlo
Nancy Marie Mithlo
The traveling art exhibit Jimmie Durham: At the Center of the World (2017–2018) demonstrated three powerful art world tendencies: the use of fraud as an artistic register, the assertion of the artist as authority, and the decontextualization of the arts as an object-centered analysis. These three approaches are congruent with capitalism and the private market, while simultaneously negating Indigenous values of community-based knowledges that operate largely outside the commercial sphere. An analysis of these competing art world values reveals the complicity of public museums with private gain and not education, their stated mission. Ethnic fraud demonstrates how art institutions and their staff employ “selective worth” as a means to cloak the arbitrary exertion of power and simultaneous rejection of Indigenous studies as academic discipline built on the value of tribal sovereignty. Serving as a backdrop for these conversations are a discussion of the history of Native approaches to museology from the early tribal museum era forward and an examination of current “reformist” and “radical” approaches to theorizing Native arts.
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Pub Date : 2019-10-01DOI: 10.17953/aicrj.43.4.holland
Ashley Holland
The large-scale retrospective exhibition Jimmie Durham: At the Center of the World (re)introduced self-identified “Cherokee” artist Jimmie Durham to a mainstream audience. Despite efforts in the 1990s to unmask the impostor, who has no known or recognized tribal affiliation, once again Durham was occupying space as a Native artist in the art world. This article addresses larger issues that face the field of Native art and Native representation in museums as a whole, offering personal reflections and a brief review of the exhibition as well as a biographical overview of the artist.
{"title":"At the Center of the Controversy: Confronting Ethnic Fraud in the Arts","authors":"Ashley Holland","doi":"10.17953/aicrj.43.4.holland","DOIUrl":"https://doi.org/10.17953/aicrj.43.4.holland","url":null,"abstract":"The large-scale retrospective exhibition Jimmie Durham: At the Center of the World (re)introduced self-identified “Cherokee” artist Jimmie Durham to a mainstream audience. Despite efforts in the 1990s to unmask the impostor, who has no known or recognized tribal affiliation, once again Durham was occupying space as a Native artist in the art world. This article addresses larger issues that face the field of Native art and Native representation in museums as a whole, offering personal reflections and a brief review of the exhibition as well as a biographical overview of the artist.","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42670733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.17953/0161-6463-43.4.29
Roy Boney
{"title":"Not Jimmie Durham’s Cherokee","authors":"Roy Boney","doi":"10.17953/0161-6463-43.4.29","DOIUrl":"https://doi.org/10.17953/0161-6463-43.4.29","url":null,"abstract":"","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44534196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.17953/aicrj.43.4.stolte
Sarah Anne Stolte
This article considers the artistic career of self-identified Osage painter Yeffe Kimball (1906–1978). Following the stylistic trends of modern American Indian painting as largely defined by non-Native critics and a male-dominated art world, Kimball’s works were accepted into major exhibits. How Kimball was able to “pass” as an American Indian artist is the core of a larger narrative—one that demonstrates and provokes critique of how her fraud took advantage of, but also contributed to strengthening, an exclusionary, devaluative settler-colonial dynamic of expropriation that continues into the present. This article critiques the manner in which museums and art schools defined societal values of “Indianness” that marginalized Native artists. Examining Yeffe Kimball’s successful ethnic fraud affirms a patriarchal, assimilationist narrative and the extent to which European-American identities, institutions, and art practices control American Indian imagery.
{"title":"Hustling and Hoaxing: Institutions, Modern Styles, and Yeffe Kimball’s “Native” Art","authors":"Sarah Anne Stolte","doi":"10.17953/aicrj.43.4.stolte","DOIUrl":"https://doi.org/10.17953/aicrj.43.4.stolte","url":null,"abstract":"This article considers the artistic career of self-identified Osage painter Yeffe Kimball (1906–1978). Following the stylistic trends of modern American Indian painting as largely defined by non-Native critics and a male-dominated art world, Kimball’s works were accepted into major exhibits. How Kimball was able to “pass” as an American Indian artist is the core of a larger narrative—one that demonstrates and provokes critique of how her fraud took advantage of, but also contributed to strengthening, an exclusionary, devaluative settler-colonial dynamic of expropriation that continues into the present. This article critiques the manner in which museums and art schools defined societal values of “Indianness” that marginalized Native artists. Examining Yeffe Kimball’s successful ethnic fraud affirms a patriarchal, assimilationist narrative and the extent to which European-American identities, institutions, and art practices control American Indian imagery.","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45162887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.17953/0161-6463-43.4.37
America Meredith
{"title":"A Chapter Closed?","authors":"America Meredith","doi":"10.17953/0161-6463-43.4.37","DOIUrl":"https://doi.org/10.17953/0161-6463-43.4.37","url":null,"abstract":"","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48632153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.17953/aicrj.43.4.caro
M. Caro
This article examines how Jimmie Durham’s false claims to Cherokee identity demand a radical reassessment of the entirety of his body of work and the scholarship that supports it. This essay takes into account the extent to which Durham’s work—much of which consisted of sardonic critiques of Native American stereotypes—depended upon its enunciation by an authentic Native voice. Now that this voice has been determined to be false, his work and the vast supporting archive require reevaluation.
{"title":"What Shall We Do with the Bodies? Reconsidering the Archive in the Aftermath of Fraud","authors":"M. Caro","doi":"10.17953/aicrj.43.4.caro","DOIUrl":"https://doi.org/10.17953/aicrj.43.4.caro","url":null,"abstract":"This article examines how Jimmie Durham’s false claims to Cherokee identity demand a radical reassessment of the entirety of his body of work and the scholarship that supports it. This essay takes into account the extent to which Durham’s work—much of which consisted of sardonic critiques of Native American stereotypes—depended upon its enunciation by an authentic Native voice. Now that this voice has been determined to be false, his work and the vast supporting archive require reevaluation.","PeriodicalId":80424,"journal":{"name":"American Indian culture and research journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42615788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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