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dc.contributor.authorHutchinson, Elizabeth
dc.contributor.editorThomas, Nicholas
dc.date.accessioned2021-05-07T02:01:42Z
dc.date.available2021-05-07T02:01:42Z
dc.date.issued2009
dc.date.submitted2021-05-06T03:30:48Z
dc.identifierhttps://library.oapen.org/handle/20.500.12657/48501
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/69569
dc.description.abstractIn 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.
dc.languageEnglish
dc.rightsopen access
dc.subject.classificationthema EDItEUR::N History and Archaeology::NH History::NHK History of the Americasen_US
dc.subject.classificationthema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of arten_US
dc.subject.otherHistory
dc.subject.otherUnited States
dc.subject.other20th Century
dc.subject.otherSocial Science
dc.subject.otherEthnic Studies
dc.subject.otherAmerican
dc.subject.otherArt
dc.subject.otherAmerican
dc.titleThe Indian Craze
dc.title.alternativePrimitivism, Modernism, and Transculturation in American Art, 1890–1915
dc.typebook
oapen.identifier.doihttps://doi.org/10.1215/9780822392095
oapen.relation.isPublishedBy8b9381d6-252e-4bed-8478-ee620c861aac
oapen.relation.isFundedByKnowledge Unlatched
oapen.relation.isbn9781478090786
oapen.collectionKnowledge Unlatched (KU)
oapen.imprintDuke University Press
dc.relationisFundedByb818ba9d-2dd9-4fd7-a364-7f305aef7ee9


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