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window.loswp.workCoauthors = [35889127]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":81678137,"attachmentType":"pdf"}"><img alt="First page of “An Introduction to Unsettling Native Art Histories”" class="ds-work-cover--cover-thumbnail" 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alt="Profile image of Kathryn Bunn-Marcuse" class="ds-work-card--author-avatar" src="//a.academia-assets.com/images/s65_no_pic.png" />Kathryn Bunn-Marcuse</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2020, Unsettling Native Art Histories on the Northwest Coast</p></div><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":81678137,"attachmentType":"pdf","workUrl":"https://www.academia.edu/72968409/An_Introduction_to_Unsettling_Native_Art_Histories"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":81678137,"attachmentType":"pdf","workUrl":"https://www.academia.edu/72968409/An_Introduction_to_Unsettling_Native_Art_Histories"}"><span class="material-symbols-outlined" style="font-size: 20px" 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data-collection-position="3" data-entity-id="38464217" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/38464217/Toward_a_Relational_Historicization_of_Indigenous_Art">Toward a Relational Historicization of Indigenous Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="44719277" href="https://mcgill.academia.edu/LindsayNixon">Lindsay Nixon</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Art Journal 77.4, 2019</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Toward a Relational Historicization of Indigenous Art","attachmentId":58528669,"attachmentType":"pdf","work_url":"https://www.academia.edu/38464217/Toward_a_Relational_Historicization_of_Indigenous_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/38464217/Toward_a_Relational_Historicization_of_Indigenous_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="37064218" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" 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PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="49310656" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/49310656/Anthropologies_and_Histories_of_Art_A_View_from_the_Terrain_of_Native_North_American_Art_History">Anthropologies and Histories of Art: A View from the Terrain of Native North American Art History</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="37392557" href="https://rochester.academia.edu/Berlo">Janet Berlo</a></div><p class="ds-related-work--metadata ds2-5-body-xs">… of Art, Williamstown, MA: Sterling and …, 2005</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Anthropologies and Histories of Art: A View from the Terrain of Native North American Art History","attachmentId":67689263,"attachmentType":"pdf","work_url":"https://www.academia.edu/49310656/Anthropologies_and_Histories_of_Art_A_View_from_the_Terrain_of_Native_North_American_Art_History","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/49310656/Anthropologies_and_Histories_of_Art_A_View_from_the_Terrain_of_Native_North_American_Art_History"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="12015500" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/12015500/The_State_of_the_Field_Contemporary_Native_American_Art">The State of the Field: Contemporary Native American Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7079782" href="https://montana.academia.edu/CeilonAspensen">Ceilon Aspensen, PhD</a></div><p class="ds-related-work--abstract ds2-5-body-sm">In assessing the state of the field of contemporary American Indian art, the most astounding discovery I have made thus far is that it is not a “field” as far as “TheArt Bulletin” is concerned. There are four “Art Bulletin” categories into which contemporary American Indian art might fall: Art of the United States, Contemporary Art, Art of the Twentieth Century, and Native American Art. However, the only category that Art Bulletin seems comfortable placing contemporary American Indian art is Native American Art, even though the span of Native American art in total can be tens of thousands of years. This might lead one to assume that contemporary American Indian art is not a legitimate category that deserves its own space at all, but I will put forth that it is indeed, and one to which more than a dozen academics have been contributing solid material for over a decade. One possible reason for the ambiguity of this subject may be as simple as the broader field of art history not having created a space for it yet, and there are probably many reasons for not settling on a single category yet, which could possibly lie in our discomfort with where to place American Indians as persons. Nevertheless, I leave it to actual art historians to sort out the reasons for the omission. However, this difficulty is one that rests solely within the field of art history, and not with the authors who have been writing about the Native Americans who have been making contemporary art for quite some time now. 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She decided to study art because she had always had a passion for making things. As a teenager she had worked with her grandmother and uncles gathering and preparing basket materials so that her grandmother could supplement the family income by making baskets. She also worked with one of her grandmother's sisters learning to bead the edges of leggings and skirts worn for ceremonies in the longhouse. While she was still in high school, because it was clear that she had the interest and patience, she began to work making husk dolls in traditional dress and then gajesa or Husk Faces for use in the longhouse. She loved making things that were used to keep the cultural life of the people alive. She also loved to draw and paint pictures that made references to traditional stories handed down for generations. Her interest in making things made art seem like the perfect choice for a major in college. As a freshman student, Katsi was advised to take a 3 credit course called Introductory Design for Art Majors and another called Introduction to the History of Western Art along with three other courses to satisfy her general education requirements. She found these classes interesting, but it was clear that none of her courses related to her cultural life or the values she had learned on the reservation. In her Introductory Design course, all of her assignments, while they taught her skills in a variety of art media, did not allow her space to use the media she had learned growing up at home. Indeed, she was told for the first time in her life that basket making and beadworking were considered crafts and were valued less than painting and sculpture. She was given an assignment to draw a paper bag, and several to do various types of figure drawing. She did twenty, five-minute, ink paintings of a towering still life set up on a table, and a detailed, forty minute pencil drawing of a surreal still life built in a box and lit so that objects cast strong dramatic shadows. Other assignments taught her to design a series of small abstract sculptures out of paper, cardboard, and various odd blocks of wood. She was instructed to glue the blocks to one another and to a base and to paint her composition in a single color. She also learned about perspective, and did a drawing of a hall in the art building that used a vanishing point. Finally, she did a series of abstract color studies. She did not find the assignments difficult, and generally got A's on her assignments and praise from her professors. There was, however, no space to produce works that thematically related to her culture, and she really missed the connections she had experienced between her artwork and her culture when she was living with her family. 1 Gail Tremblay is a Member of the Faculty at The Evergreen State College and a member of the Onadoga tribe. Copyright held by The Evergreen State College. Please use appropriate attribution when using and quoting this cases. Cases are available at the Enduring Legacies Native Cases website at: www.evergreen.edu/tribal/cases. All images are used with permission of the artists.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Issues in Contemporary American Indian Art: An Iroquois Example 1","attachmentId":49652986,"attachmentType":"pdf","work_url":"https://www.academia.edu/29203185/Issues_in_Contemporary_American_Indian_Art_An_Iroquois_Example_1","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/29203185/Issues_in_Contemporary_American_Indian_Art_An_Iroquois_Example_1"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="105148609" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/105148609/2021d_Hampson_J_and_Weaver_R_Indigenous_art_in_new_contexts_inspiration_or_appropriation">2021d. 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Drawing from twenty years of fieldwork in southern Africa, northern Australia, and North America, this chapter focuses on re-contextualised and appropriated rock art images in commercial settings, in new art works, and as integral components of political symbols. Concepts of reproduction, agency, and affect are addressed through archaeological, anthropological, and visual heritage lenses. Specific case studies include the commodification and re-contextualisation of Kokopelli and Thunderbird motifs in the USA; First Nation images in Canada; San paintings and engravings in South Africa; and Aboriginal art in Australia.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"2021d. Hampson, J. \u0026 Weaver, R. 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