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Wendy Red Star: Challenging Colonial Histories and Foregrounding the Impacts Of Wendy Red Star: Challenging Colonial Histories and Foregrounding the Impacts of Violence Against Indigenous Women Virginia Barrett Hellmann A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of the Arts in Art History with Honors University of Colorado, Boulder Fall 2018 Committee: Annette de Stecher, Thesis Advisor, Art History Robert Nauman, Art History Diane Conlin, Classics 2 Acknowledgements I would like to thank Dr. Annette de Stecher for everything she contributed to this thesis process. From inspiring me in her lecture of Contemporary Indigenous Arts, to supplying endless wisdom and knowledge, to helping me refine my topic, and to contributing so many meaningful edits. This thesis never would have been written without her, so I would like to thank her for all of her support. I would also like to thank Drs. Robert Nauman and Diane Conlin for their contributions to this project, and for the amazing classes I took with them. They have taught me invaluable things about Art History, the field of museums, and the world in general. 3 Abstract In my thesis, Wendy Red Star: Challenging Colonial Histories and Foregrounding the Impact of Violence Against Indigenous Women, I analyze two of Red Star’s photographic series, Four Seasons and White Squaw. I argue that Red Star uses irony, humor, parody, and erasure to challenge stereotypes and misrepresentations of Indigenous lives. In Four Seasons, Red Star uses irony and humor to critique historically marginalized images in museum exhibitions, and the stereotypes created as a result of visions of empty land, ethnographic photography, and commercialization of Indigenous cultures. In White Squaw, Red Star uses parody and erasure to reveal the negative impacts of sexploitation, gendered stereotypes, and Indigenous women and girls’ vulnerability to violence. In my thesis, I argue that Red Star’s work is contextualized in Indigenous feminism and identity-based art. Indigenous feminism differs from mainstream feminism. It is grounded in decolonization, Indigenous sovereignty, and Indigenous cultural values. Indigenous feminism examines the intersections of colonialism, racism, and sexism, and addresses how these intersections have marginalized Indigenous women. Red Star offers a personal perspective in her art, by representing objects and artworks from her own Apsáalooke culture. She uses her elk tooth dress in Four Seasons to subvert the stereotypes being projected onto her within the backdrop of this photographic series. In White Squaw, Red Star uses her own portrait and adds this dimension of reciprocity, where whatever harm occurs to the heroine in the novels that she occupies, would also occur to her as a result of stereotypes. Red Star inhabits the stereotypes of Indigenous peoples and women in order to speak from a discourse of colonial misrepresentation from within a colonial system. Red Star inserts Apsáalooke culture in her artwork in order to present one example of an Indigenous woman’s experience; just one instance in an extremely complicated, interwoven web of misrepresentation, violence, and stereotypes. This personal perspective has the potential to reach a broad audience, to create a space for discussions about race, gender, and history, and to promote collective healing. 4 Table of Contents List of Figures…………………………………………………………………………………….5 Introduction………………………………………………………………………………………8 Conceptual Framework…………………………………………………………………………....9 Literature Review………………………………………………………………………………...10 Methodology……………………………………………………………………………………..13 Chapter Outline………………………………………………………………………………......14 Chapter One: Gendered Stereotypes, Indigenous Women, and the White Male Gaze…...........................................................................................................................................16 How Cultural Appropriation is a Reproduction of the White Gaze……………………………...20 Iterations of the Commodification of Indigenous Cultures and How They Influenced Stereotypes……………………………………………………………………………………….22 Romanticism, Stereotypes, and Ethnography: Connections to Commodification of Indigenous Cultures and Notions of Manifest Destiny……………………………………………………….26 Chapter Two: Four Seasons…………………………………………………………………....29 A Closer Analysis of Four Seasons……………………………………………………………...31 Chapter Three: White Squaw…………………………………………………………………..39 The Strategies of White Squaw…………………………………………………………………..41 White Squaw: Image and Text…………………………………………………………………...46 Conclusion…………………………………………………………………………………........54 Bibliography………………………………………………………………………………….....56 Appendix A: Figures……..…………………………………………………………………......60 5 List of Figures Figure 1: Joseph Mozier. Pocahontas. Marble. 1868. 48 inches. Art Institute Chicago. http://www.artic.edu/aic/collections/artwork/146929. Figures 2-4: Eric Goldberg and Mike Gabriel. Pocahontas. 1995. Stills from Netflix. https://www.netflix.com/search?q=pocahontas Figure 5: Zack Rota. Untitled. July 29, 2014. Available from: “Why Native Headdresses No Longer Belong at Music Festivals,” Thump Vice. https://thump.vice.com/en_us/article/jpnzz7/why-native-headdresses-no-longer-belong-at-music- festivals Figure 6: Tribal Princess Sexy Costume. Available From: For Play. https://www.forplaycatalog.com/p/Cowgirls--Indians/2Pc.-Tribal-Princess-Sexy- Costume/157138.html Figure 7: Minnetonka Women’s Kilty Suede Moccasin. Available from: Amazon. https://www.amazon.com/Minnetonka-Womens-Kilty-Suede-Moccasin/dp/B0026MRNGO Figure 8: Jessica Misener. Untitled. Photograph. November 8, 2012. Available from: “Karlie Kloss Wears Native American Headdress at Victoria’s Secret Fashion Show,” Huffington Post. https://www.huffingtonpost.com/2012/11/08/karlie-kloss-victorias-secret-headdress-fashion- show_n_2091958.html Figure 9: Chief Wahoo. Last modified June 21, 2018. Available from: Wikipedia. https://en.wikipedia.org/wiki/Chief_Wahoo Figure 10: Washington Redskins. February 13, 2018. Available from: Washington Redskins Facebook Page. https://www.facebook.com/redskins/ Figure 11: Lucy Ganje. Blow Us. T-shirt. Available From: “The Elimination of Indigenous Mascots, Logos, and Nicknames: Organizing on College Campuses.” Figure 12: Joseph “Udo” Keppler. Untitled. Photograph. 1903. Available from The Indian Craze: Primitivism, Modernism, and Transculturation in American Art. Figure 13: Albert Bierstadt. Among the Sierra Nevada Mountains, California. Oil on Canvas. 1868. Available from: Smithsonian American Art Museum. https://americanart.si.edu/artwork/among-sierra-nevada-california-2059 Figure 14: Albert Bierstadt. The Rocky Mountains, Lander’s Peak. Oil on Canvas. 1863. Available from: The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/10154 6 Figure 15: Edward Curtis. An Oasis in the Badlands. Photograph. 1905. Available from: http://curtis.library.northwestern.edu/curtis/toc.cgi Figure 16: Wendy Red Star. Fall. Archival Pigment Print on Sunset Fiber Rag. 2006. Available from: Portland Art Museum Online Collections. http://portlandartmuseum.us/mwebcgi/mweb.exe?request=record;id=77991;type=101 Figure 17: Wendy Red Star. Winter. Archival Pigment Print on Sunset Fiber Rag. 2006. Available from: Portland Art Museum Online Collections. http://portlandartmuseum.us/mwebcgi/mweb.exe?request=record;id=77992;type=101 Figure 18: Wendy Red Star. Spring. Archival Pigment Print on Sunset Fiber Rag. 2006. Available from: Portland Art Museum Online Collections. http://portlandartmuseum.us/mwebcgi/mweb.exe?request=record;id=77954;type=101 Figure 19: Wendy Red Star. Indian Summer. Archival Pigment Print on Sunset Fiber Rag. 2006. Available from: Portland Art Museum Online Collections. http://portlandartmuseum.us/mwebcgi/mweb.exe?request=record;id=77990;type=101 Figure 20: Wendy Red Star. Amy Bright Wings Red Star. Available from: “Wendy Red Star: Owning Your Power,” NEA Magazine. https://www.arts.gov/NEARTS/2018v1-women-arts- galvanizing-encouraging-inspiring/wendy-red-star Figure 21: Santa Barbara Museum of Natural History. Chumash Diorama. January 19, 2013. Available from: Wikipedia. https://commons.wikimedia.org/wiki/File:Santa_Barbara_Museum_of_Natural_History_- _Chumash_diorama.JPG Figure 22: E.J. Hunter. White Squaw #1: Sioux Wildfire. Book Cover. 1983. Available from: https://www.goodreads.com/book/show/9524520-sioux-wildfire Figure 23: Wendy Red Star. White Squaw #11: Hot Handed Heathen. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw Figure 24: Wendy Red Star. White Squaw #14: Red Top Tramp. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw Figure 25: Wendy Red Star. White Squaw #2: Boomtown Bust. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw Figure 26: Wendy Red Star. White Squaw #13: Track Tramp. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw Figure 27: Wendy Red Star. White Squaw #15: Here Comes the Bride. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw 7 Figure 28: Wendy Red Star. White Squaw #9: Twin Peaks – OR Bust. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw Figure 29: Wendy Red Star. White Squaw #12: Ball and Chain. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw Figure 30: Wendy Red Star. White Squaw #20: Bareback Beauty. Archival pigment print. 2014. Available from: http://www.wendyredstar.com/white-squaw Figure 31: Wendy Red Star. White
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