000			03469naaaa2200397uu 4500
001			https://directory.doabooks.org/handle/20.500.12854/69569
005			20220219183004.0
020			_a/doi.org/10.1215/9780822392095
024	7		_ahttps://doi.org/10.1215/9780822392095 _cdoi
041	0		_aEnglish
042			_adc
072		7	_aHBJK _2bicssc
072		7	_aAC _2bicssc
100	1		_aHutchinson, Elizabeth _4auth
700	1		_aThomas, Nicholas _4edt
700	1		_aThomas, Nicholas _4oth
245	1	0	_aThe Indian Craze : Primitivism, Modernism, and Transculturation in American Art, 1890–1915
260			_bDuke University Press _c2009
506	0		_aOpen Access _2star _fUnrestricted online access
520			_aIn 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 Käsebier, 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.
536			_aKnowledge Unlatched
540			_aCreative Commons _fhttps://creativecommons.org/licenses/by-nc-nd/4.0/legalcode _2cc _4https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode
546			_aEnglish
650		7	_aHistory of the Americas _2bicssc
650		7	_aHistory of art / art & design styles _2bicssc
653			_aHistory
653			_aUnited States
653			_a20th Century
653			_aSocial Science
653			_aEthnic Studies
653			_aAmerican
653			_aArt
653			_aAmerican
856	4	0	_awww.oapen.org _uhttps://library.oapen.org/bitstream/20.500.12657/48501/1/external_content.pdf _70 _zDOAB: download the publication
856	4	0	_awww.oapen.org _uhttps://directory.doabooks.org/handle/20.500.12854/69569 _70 _zDOAB: description of the publication
999			_c35454 _d35454