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INDIGENOUS PERSPECTIVES on CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS and REPRESENTATION John Paul Rangel

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INDIGENOUS PERSPECTIVES on CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS and REPRESENTATION John Paul Rangel University of New Mexico UNM Digital Repository Language, Literacy, and Sociocultural Studies ETDs Education ETDs 4-2-2013 INDIGENOUS PERSPECTIVES ON CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS AND REPRESENTATION John Paul Rangel Follow this and additional works at: https://digitalrepository.unm.edu/educ_llss_etds Recommended Citation Rangel, John Paul. "INDIGENOUS PERSPECTIVES ON CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS AND REPRESENTATION." (2013). https://digitalrepository.unm.edu/educ_llss_etds/37 This Dissertation is brought to you for free and open access by the Education ETDs at UNM Digital Repository. It has been accepted for inclusion in Language, Literacy, and Sociocultural Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i ii © 2012 Copyright by John Paul Rangel Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iii ACKNOWLEDGMENTS I would like to acknowledge Dr. Greg Cajete, my advisor and dissertation chair, for the encouragement and advice throughout the years of graduate studies. I am so grateful for his guidance, mentorship, professionalism and friendship that have had a profound impact on my understanding of Indigenous studies, education, and leadership. I also thank my committee members, Dr. Penny Pence, Dr. Anne Calhoun, and Dr. Nancy Marie Mithlo, for their valuable recommendations and insights pertaining to this study and their assistance in my professional development. To the members of the Native arts community and specifically the Native artists whose contributions to this study made it possible, I am grateful for all the conversations leading up to this project, the meals we shared and the issues you brought up. I hope I did right by you and will continue to do my part to emphasize the importance of Indigenous perspectives and worldviews particularly pertaining to our arts and cultures. iv INDIGENOUS PERSPECTIVES ON CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS AND REPRESENTATION by John Paul Rangel B.F.A., Studio Art, University of Texas – Austin, 1998 M.A. American Studies, University of New Mexico, 2007 Ph.D., Language, Literacy and Sociocultural Studies, University of New Mexico, 2012 ABSTRACT In this dissertation I examine and posit Indigenous perspectives on contemporary Native art, Indigenous aesthetics and issues of representation. Contemporary Native art at this moment is best described as an expression of values—personal or communal or cultural—with an attention to material conditions and current issues. I employ Indigenous methodologies and Tribal Critical Race theory as a critical framework to intervene in the dominant discourse on Native art. This research focuses on the narratives and perspectives of eight artists who represent a cross-section of the current state of Native arts production in North America drawing from the local Native arts community in Santa Fe, New Mexico, various urban areas of the United States, and a artist in Vancouver, British Columbia. These artists span three generations of artistic practice that includes display, performance, lecture and education. I utilize the current scholarship on Native arts, curatorial practice and the perspectives of museum professionals from the Institute of American Indian Arts, a federally chartered college and museum. Utilizing Indigenous perspectives and frameworks is necessary for understanding Native art and Indigenous aesthetics, particularly in public institutions such as museums. Reclaiming the apparatus of an institution like the museum promotes and encourages the recognition of Indigenous ways of knowing, models of representation and the delivery of knowledge pertaining to Native arts and culture. The Native museum becomes a site to re-educate the general public about the complexities of identity and influence, cross- cultural exchanges, and the prevalence of thriving Indigenous living cultures. This is an v area of research that is under-developed and I extend the discourse on Native art theory and representation through Indigenous aesthetics. Indigenous aesthetics are an expression of a continuum of cultural production and connections to place, language, culture, traditions, values, oral histories and Indigenous knowledge, ancestry and also to future generations. This includes indigenous mapping where the connection to place is tied into worldview, ceremony, language, songs, dance, prayer, family and cultural continuity. Native American art is a spectrum of expression, influences and perspectives represented in forms that embody an expansive range where I utilize the terms essentialism and hybridity. Essentialism employs the concepts of cultural distinctiveness and tribal sovereignty that allows the Native artist to claim and interpret cultural patrimony. Hybridity, in an Indigenous context, resists the limitations of dominant culture projections of Native culture and encourages innovation, adaptation and a response to influences, current conditions and new media. Native artists use Indigenous aesthetics to respond to colonialism through political/social commentary, addresses stereotype and racism, indicating survivance and enacting cultural sovereignty. When Native artists and intellectuals do this they are re-appropriating or indigenizing ideas, symbols, mascots, the colonial gaze. I discuss re-presentation of Native arts and the ongoing development of Indigenous aesthetics through recent exhibitions, current scholarship, Native curatorial practice and the ethnographic narratives of Native artists. I extend the current discourse on Indigenous aesthetics through the concept of the Indigenization of space that occurs when Native people reclaim a location through cultural signifiers, performance, ceremony, song, dance, or installation conveying the existence and presence of Native peoples. My research illustrates how Native people reclaim cultural, intellectual and physical patrimony through this new discourse by using Native critical theory and methodologies, Indigenous aesthetics and Native art terminology. vi LIST OF IMAGES..........................................................................................................x LIST OF FIGURES........................................................................................................xvi CHAPTER 1 INTRODUCTION....................................................................................14 Research Questions 4 Definitions 4 Significance 15 CHAPTER 2 LITERATURE REVIEW........................................................................17 Conceptions of culture 17 Natives in popular culture 19 Cultural theory and issues of representation 20 Native North American Indian Art 23 Indigenous Aesthetics 31 CHAPTER 3 THEORETICAL FRAMEWORK.........................................................35 Decolonizing Methodologies 36 Indigenous methodology 37 Critical Race Theory 38 Tribal Critical Race Theory 40 vii CHAPTER 4 METHODOLOGY...................................................................................48 Ethnography 48 Critical Ethnography 50 Critical Analysis and Theory 51 Indigenous Methodology 52 Research Methods 55 Ethics/Reflexivity 59 Community-based and Collaborative Research 60 CHAPTER 5 NATIVE ARTISTS: PROFILES & ART, THE CASE STUDIES…..63 Charlene Teters 63 Michael Nicoll Yahgulanaas 94 Teri Greeves 115 Marcus Amerman 139 Sarah Sense 152 Frank Buffalo Hyde 166 Dyani Reynolds-White Hawk 178 Chris Pappan 199 viii CHAPTER 6 ANALYSIS.............................................................................................211 Native Art representation in Museums 216 The Museum of Contemporary Native Arts 218 Indigenous Perspectives in a Native Arts Museum 220 Indigenous aesthetics 227 Chapter 7 CONCLUSION............................................................................................233 APPENDICES................................................................................................................241 APPENDIX A – THE INDIAN ARTS AND CRAFTS ACT OF 1990.....................241 APPENDIX B – SANTA FE INDIAN MARKET STANDARDS.............................242 REFERENCES...............................................................................................................248 ix LIST OF IMAGES 1. Teters, Charlene. (1994). MFA Show - Detail [Painting, Installation]. Champaign, IL; University of Illinois. Photo courtesy of Charlene Teters.....................................66 2. Teters, Charlene. (1999). The Obelisk: To the Heroes [Sculpture]. Santa Fe, NM; 1999 3rd Annual Site Santa Fe Biennial. Photo courtesy of Charlene Teters.......70 3. Teters, Charlene. (1999). Route 66 Revised: “It was only an Indian” – Exterior view [Installation]. Albuquerque, NM; 516 Arts. Photo courtesy of Charlene Teters...73 4. Teters, Charlene. (1999). Route 66 Revised: “It was only an Indian” – Interior view [Installation]. Albuquerque, NM; 516 Arts. Photo courtesy of Charlene Teters...............74 5. Teters, Charlene. (1999). Route 66 Revised: “It was only an Indian” – detail [Installation]. Albuquerque, NM; 516 Arts. Photo courtesy of Charlene Teters...............74 6. Teters, Charlene. (2002). Baseball and Playing Indian – detail [Installation]. New York, NY; Natural History Museum. Photo courtesy of Charlene Teters.........................77 7. Teters, Charlene. (2002). Baseball and Playing Indian – detail [Installation]. New York, NY; Natural History Museum. Photo courtesy of Charlene Teters.........................77
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