The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915. By Elizabeth Hutchinson

Lentis, Marinella; Parezo, Nancy J.

doi:10.1111/j.1548-1379.2010.01108_5.x

Cited by 7 publications

(11 citation statements)

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“…As Indigenous people were removed from their homelands to reservations, sometimes nomads transitioned to farmers on land with poor soil and needed another way to survive. Selling art was one way to keep food on the table, and basketry's role in this is well-documented (Howard and Pardue, 1996;Hutchinson, 2009;Phillips, 1998). With the spread of the railroad, Indigenous artists found willing buyers on trains: elaborate designs, bright colours and unusual shapes appealed to tourists, travellers and collectors alike, and weavers rose to the challenge with an explosion of woven creativity.…”

Section: The Baskets: Presentation Description Contextmentioning

confidence: 99%

“…One outcome of this non-museum version of salvage anthropology was the construction of the 'Indian corner', a room or section of a room dedicated to Native American artefacts in white households. The Indian corner embodies the antithetical relationship between the perceived wild, pristine beauty of the American Indian relocated to the comforts of a domestic Euro-American setting (Hutchinson, 2009), permitting families to display their cosmopolitanism while revealing their part in colonization and imperialism (Phillips, 1998: 209-210).…”

Section: The 'Basket Craze'mentioning

confidence: 99%

“…During the transformative period of the late 19th to the early 20th century, Euro-American collectors found themselves engaged in an intense scramble for Native American artefacts. Pottery, rugs and beadwork were popular but American Indian baskets were perhaps the most sought-after items (Hutchinson, 2009;Lee, 1999;Smith-Ferri, 1998). This article revolves around a collection of 47 baskets of varying styles and weaving techniques, all produced by Native American and Native Alaskan artists prior to 1922 and exported to Europe.…”

Section: Introductionmentioning

confidence: 99%

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‘Just a souvenir?’ Entangled identities within an early 20th century American Indian basket collection

Ahlqvist

Potter

2023

Journal of Material Culture

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In this article, we examine a collection of 47 American Indian baskets collected in the early 20th century, at the height of the ‘basket craze’. Currently stored in a Danish museum without much archival information, the baskets encapsulate art historical developments taking place at the turn of the century, a time fuelled by the Euro-American preoccupation with collecting and displaying Native American artefacts. Academic debates developed around the derived ‘tourist art’ and the colonial framework still haunt Euro-American notions of authenticity. We investigate the baskets, their role, cultural affiliation and significance in a bottom-up approach, with a persistent view to this historical context as well as their material testimony to the agency of the weavers navigating in a transformed economy and legislative restrictions. We show how the baskets materialize the entangled identities of makers, collectors and museums and how interdisciplinary research can provide a spatio-temporal context to overlooked collections.

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Section: The Baskets: Presentation Description Contextmentioning

confidence: 99%

Section: The 'Basket Craze'mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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‘Just a souvenir?’ Entangled identities within an early 20th century American Indian basket collection

Ahlqvist

Potter

2023

Journal of Material Culture

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“…Representations of Native Americans in late nineteenth and early twentieth century advertising were created during what art historian Elizabeth Hutchinson (2009) has termed "the Indian craze." Both individual consumers and institutional curators showed a passion for collecting Native American material culture, such as baskets, pottery, beadwork bags and pouches, woven blankets, clothing, masks, and bows, arrows and war clubs.…”

Section: The Indian Crazementioning

confidence: 99%

“…Department stores, such as Marshall Field's in Chicago and Wanamaker's in Philadelphia, also carried these products and sold them through the most advanced merchandising of the day such as glass display cases. Hutchinson (2009) argues that mainstream American society wanted Native Americans to be "authentic" Indians.…”

Section: The Indian Crazementioning

confidence: 99%

Cultural Appropriation in Historical Context: Native Americans in Firearms Advertising

Witkowski

2023

Journal of Macromarketing

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The long standing appropriation of Native American culture for promotional purposes has received ample criticism from tribal members, Indigenous advocates, professional organizations, and scholars. Mounting disapproval has pressured private companies and public institutions to curtail these practices in the United States. This article expands historical understanding of these contested representation by analyzing the advertising of three major firearms manufacturers – Savage, Remington, and Winchester – and a few other gun sellers who have periodically exploited American Indian images and language from the late nineteenth century until the present day. These depictions, their historical context, and their macromarketing implications are critically examined. Also discussed are intersections with U.S. gun culture, study limitations, and opportunities for further research on Native American appropriation globally.

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The Anthropology of Art, After the End of Art: Contesting the Art-Culture System

Kisin

Myers

2019

Annu. Rev. Anthropol.

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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.

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The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915. By Elizabeth Hutchinson

Cited by 7 publications

References 0 publications

‘Just a souvenir?’ Entangled identities within an early 20th century American Indian basket collection

‘Just a souvenir?’ Entangled identities within an early 20th century American Indian basket collection

Cultural Appropriation in Historical Context: Native Americans in Firearms Advertising

The Anthropology of Art, After the End of Art: Contesting the Art-Culture System

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