In the early twentieth century, Native American baskets, blankets,
and bowls could be purchased from department stores, "Indian
stores," dealers, and the U.S. government's Indian schools. Men and
women across the United States indulged in a widespread passion for
collecting Native American art, which they displayed in domestic
nooks called "Indian corners." Elizabeth Hutchinson identifies this
collecting as part of a larger "Indian craze" and links it to other
activities such as the inclusion of Native American artifacts in
art exhibitions sponsored by museums, arts and crafts societies,
and World's Fairs, and the use of indigenous handicrafts as models
for non-Native artists exploring formal abstraction and emerging
notions of artistic subjectivity. She argues that the Indian craze
convinced policymakers that art was an aspect of "traditional"
Native culture worth preserving, an attitude that continues to
influence popular attitudes and federal legislation.
Illustrating her argument with images culled from
late-nineteenth- and early-twentieth-century publications,
Hutchinson revises the standard history of the mainstream interest
in Native American material culture as "art." While many locate the
development of this cross-cultural interest in the Southwest after
the First World War, Hutchinson reveals that it began earlier and
spread across the nation from west to east and from reservation to
metropolis. She demonstrates that artists, teachers, and critics
associated with the development of American modernism, including
Arthur Wesley Dow and Gertrude Kasebier, were inspired by Native
art. Native artists were also able to achieve some recognition as
modern artists, as Hutchinson shows through her discussion of the
Winnebago painter and educator Angel DeCora. By taking a
transcultural approach, Hutchinson transforms our understanding of
the role of Native Americans in modernist culture.
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