Native American Art at Dartmouth is the fourth in a series of comprehensive exhibitions and catalogues showcasing the permanent collection. This fully illustrated catalogue features contributions by the show’s guest curators—George P. Horse Capture Sr., Joe D. Horse Capture, and Joseph M. Sanchez—as well as Dartmouth professor Colin G. Calloway, Hood assistant curator Karen S. Miller, and a number of specialists in the Native American art and culture of various regions of the country. The book integrates ...
Native American Art at Dartmouth is the fourth in a series of comprehensive exhibitions and catalogues showcasing the permanent collection. This fully illustrated catalogue features contributions by the show’s guest curators—George P. Horse Capture Sr., Joe D. Horse Capture, and Joseph M. Sanchez—as well as Dartmouth professor Colin G. Calloway, Hood assistant curator Karen S. Miller, and a number of specialists in the Native American art and culture of various regions of the country. The book integrates traditional and contemporary art practice, and features work by former Dartmouth artists-in-residence Allen Houser, Fritz Scholder, T. C. Canon, and Bob Haozous, as well as a newly commissioned series of works by Dartmouth graduate Mateo Romero.
Publisher: Hood Museum of Art & University Press of New England
Publication date: 10/11/2011
Sales rank: 1,433,610
Product dimensions: 9.50 (w) x 12.00 (h) x 0.60 (d)
Meet the Author
GEORGE P. HORSE CAPTURE SR., A’aninin (Gros Ventre), is an anthropologist/writer/lecturer/ curator who served as assistant professor of American Indian studies at Montana State University. He was hired as the first curator of the Plains Indian Museum at the Buffalo Bill Historical Center in Cody, Wyoming. At the National Museum of the American Indian, beginning in 1993, he was active in the establishment of the museum, retiring in 2005 as the senior counselor to the director. JOE D. HORSE CAPTURE, A'aninin (Gros Ventre), is associate curator of Native American art at the Minneapolis Institute of Arts. His most recent exhibition, From Our Ancestors: Art of the White Clay
People, chronicles the art and culture of his people as the first exhibition/catalogue to focus on the Naninin. His publications include Beauty, Honor and Tradition: The Legacy of Plains Indian Shirts
(2003), Sacred Legacy: Edward S. Curtis and the American Indian (contributor, 2000), and Warrior Artists (co-author, 2000). He has been a guest curator and consultant for numerous exhibitions and projects involving Native American art and culture. JOSEPH M. SANCHEZ, who is of Spanish, German, and Pueblo descent, was formerly deputy director and chief curator at the Institute of American Indian Arts in Santa Fe, New Mexico. Since 1970, he has worked with many artists and art professionals around the world, developing artist organizations, curating exhibitions, directing museums, and sharing his experiences with school children. These experiences are informed by a full cultural and ceremonial life and the guidance and wisdom of many elders. COLIN G. CALLOWAY is John Kimball Jr. 1943 Professor of History and Professor of Native American Studies at Dartmouth College. He received his PhD from the University of Leeds in England in 1978. His books include The Indian History of an American Institution: Native Americans and Dartmouth (2010); White People, Indians, and Highlanders: Tribal Peoples and Colonial Encounters in Scotland and America (2008); The Shawnees and the War for America (2007); The Scratch of a Pen: 1763 and the Transformation of North America (2007); One Vast Winter Count: The Native American West before Lewis and Clark (2003); First Peoples: A Documentary Survey of American Indian History (1999); and New Worlds for All: Indians, Europeans, and the Remaking of Early America (1997). KAREN S. MILLER, assistant curator for special projects at the Hood Museum of Art at Dartmouth College, curated Contemporary Native American Ledger Art: Drawing on Tradition, August 14, 2010–January 16, 2011, and coordinated Native American Ledger Drawings from the Hood Museum of Art: The Mark Lansburgh Collection, October 2–December 19, 2010, as well as Native American Art at Dartmouth: Highlights from the Hood Museum of Art. Karen spent fifteen years in Alaska and wrote her MA thesis on the work of contemporary Inupiaq sculptor Susie Qimmiqsak Bevins.
Preface and Acknowledgments – Catherine W. Hart
Foreword: Living at Sunrise – George P. Horse Capture Sr.
A School in the Heart of the Indian Country – Colin G. Calloway
Introduction: Native American Art at Dartmouth – Karen S. Miller
An Interview with Guest Curator Joe D. Horse Capture – Joe D. Horse Capture and Karen S. Miller
The Continuity of Tradition: A Native Aesthetic – Joseph M. Sanchez
A Selection of Contemporary Native American Art in the Hood Museum of Art’s Collection
Arctic/Subarctic: Innovation and Ingenuity – Heather Igloliorte
Northwest Coast: Expressing Identity in an Intercultural World – Megan A. Smetzer
Plateau and California: Nature and Rebellion Inspire Visual Stories – Miles R. Miller
Southwest: Diversity in a Land of Dramatic Contrasts – Joyce M. Szabo
Plains: Recalling the Past and Illustrating the Present – Jenny Tone-Pah-Hote
Woodlands: Symbolism and Cosmology – Sherry Brydon
Southeast: Ancient Concepts, Modern Arts – Leah Bowe
Baskets: Weaving Beauty into the World – Jennifer Neptune
Illustrated Checklist of the Exhibition
Selected Chronology of the Native American Collection at Dartmouth College – Deborah T. Haynes
The Hood Museum of Art’s Compliance with the Native American Graves Protection and Repatriation Act (NAGPRA) – Kellen G. Haak