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Indian Art As Dialogue: the Tricky Transgressions of Bob Haozous

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Indian Art As Dialogue: the Tricky Transgressions of Bob Haozous Indian Art As Dialogue: The Tricky Transgressions of Bob Haozous Item Type text; Electronic Dissertation Authors Morris, Traci L. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 11:11:35 Link to Item http://hdl.handle.net/10150/194126 INDIAN ART AS DIALOGUE: THE TRICKY TRANSGRESSIONS OF BOB HAOZOUS by Traci Lynn Morris ______________________ Copyright © Traci Lynn Morris 2005 A Dissertation Submitted to the Faculty of the DEPARTMENT OF AMERICAN INDIAN STUDIES In Partial Fulfillment of the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2005 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Traci L. Morris entitled Indian Art As Dialogue: The Tricky Transgressions of Bob Haozous and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy in American Indian Studies _______________________________________________________________________ Date: 4/8/05 Barbara A. Babcock _______________________________________________________________________ Date: 4/8/05 Mary Jo Fox _______________________________________________________________________ Date: 4/8/05 Joseph (Jay) Stauss _______________________________________________________________________ Date: 4/8/05 Tom Holm _______________________________________________________________________ Date: 4/8/05 Sarah Moore Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: 4/8/05 Dissertation Director: Barbara A. Babcock 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the library. Brief quotation from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder SIGNED: Traci L. Morris 4 ACKNOWLEDGEMENTS I would not have written this dissertation or completed my degree without the help and encouragement of all the following people from the University of Arizona: Dr. Barbara A. Babcock, Dr. Mary Jo Fox, Dr. Tom Holm, Dr. Sarah Moore, and Dr. Nancy Odegaard. I would also like to thank Dr. Peter Jacobs, from Colorado State University for introducing me to my subject, Bob Haozous. Heartfelt thanks to Mark Tomas Bahti for years of economic and (nearly) familial support. A special thanks to my husband, Ron Carlsten Jr. for all his support and faith. I would also like to thank the Ferrara Family: Sam, Amy, and Julian, for giving me a place to stay during my research and for the renewed friendship that resulted. Thanks to Daphne Young for all the discussions. Finally, great thanks to Bob Haozous, not only for being so generous with his time and contributions, but also for doing the work he does, which is what inspires me. 5 DEDICATION This work is dedicated to my husband, Ron W. Carlsten Jr. and my grandparents, Mae Orilla Martin Culbertson and Claude Clarence Culbertson, with great affection, respect, and love. 6 TABLE OF CONTENTS PREFACE.................................................................................................................................................10 STRUCTURE OF WORK..........................................................................................................................14 INTRODUCTION.....................................................................................................................................20 PART 1.........................................................................................................................................................31 HISTORICAL CONSTRUCTIONS OF NATIVE ART ...............................................................................31 INDIAN ART HISTORY....................................................................................................................33 THE MARKET....................................................................................................................................46 INDIAN IDENTITY............................................................................................................................48 PART 2.........................................................................................................................................................53 BOB HAOZOUS .......................................................................................................................................53 ART COMPARISON/ART ANALYSIS.............................................................................................59 ARTWORK: CULTURAL CROSSROADS.......................................................................................60 Figure 1: Cultural Crossroads intact. Courtesy of Bob Haozous................................................64 Figure 2: Cultural Crossroads after court ruling. Author's collection.........................................64 CULTURAL CROSSROADS: CONTROVERSY AND CENSORSHIP...........................................65 Figure 3: Cultural Crossroads, from the artist's submitted proposal...........................................66 Figure 4: Cultural Crossroads.....................................................................................................67 Figure 5: Venn Diagram / Cultural Crossroads..........................................................................72 ARTWORK TWO: DEFINING THE GREAT MYSTERY ...............................................................74 Figure 6: Defining the Great Mystery. Courtesy of Bob Haozous .............................................74 Figure 7: Bigfoot's corpse. Credit: Western History/Genealogy Dept., Denver Public Library.76 PART 3.........................................................................................................................................................79 THEORETICAL CONSIDERATIONS ......................................................................................................79 ON NATIVE ART, DIALOGUE, AND VISUAL CULTURE:..........................................................83 TOWARDS A NEW CONSTRUCTION OF NATIVE ART: INDIGENOUS CULTURAL DIALOGUE.........................................................................................................................................87 Trickster Characteristics.................................................................................................................................. 92 Trickster: A Site of Resistance in Art.............................................................................................................. 96 Figure 8 (left): End of the Trail; James Earle Fraser, Fraser Studio Collection, National Cowboy and Western Heritage Museum....................................................................................99 Figure 9 (right): Cultural Crossroads, Close-up on End of the Trail segment............................99 Indigenous Cultural Dialogue: Trickster as a Theoretical Construct............................................................. 102 CONCLUSION..........................................................................................................................................107 APPENDIX A ............................................................................................................................................111 REFERENCES........................................................................................................................................115 7 LIST OF ILLUSTRATIONS Figure 1: Cultural Crossroads intact. Courtesy of Bob Haozous...................................... 64 Figure 2: Cultural Crossroads after court ruling. Author's collection............................... 64 Figure 3: Cultural Crossroads, from the artist's submitted proposal................................. 66 Figure 4: Cultural Crossroads ........................................................................................... 67 Figure 5: Venn Diagram / Cultural Crossroads ................................................................ 72 Figure 6: Defining the Great Mystery. Courtesy of Bob Haozous ................................... 74 Figure 7: Bigfoot's corpse. Credit: Western History/Genealogy Dept., Denver Public Library....................................................................................................................... 76 Figure 8 (left): End of the Trail; James Earle Fraser, Fraser Studio Collection, National Cowboy and Western Heritage Museum. ................................................................. 99 Figure 9(right): Cultural Crossroads, Close-up on End of the Trail
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