scholarly journals Siyosapa: At the Edge of Art

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 148
Author(s):  
Penney
Keyword(s):  
North America ◽  
Art History ◽  
Art Market ◽  
The Sun ◽  
Military Officers ◽  
Colonial Authority ◽  
Tourist Art ◽  
History Of ◽  
Native North America ◽  
Holy Man

The art history of Native North America built its corpus through considerations of “art-by-appropriation,” referring to selections of historically produced objects reconsidered as art, due to their artful properties, in addition to “art-by-intention,” referring to the work by known artists intended for the art market. The work of Siyosapa, a Hunkpapa/Yanktonai holy man active at Fort Peck, Montana during the 1880s and 1890s, troubles these distinctions with his painted drums and muslin paintings featuring the Sun Dance sold to figures of colonial authority: Military officers, agency officials, and others. This essay reassembles the corpus of his work through the analysis of documentary and collections records. In their unattributed state, some of his creations proved very influential during early attempts by art museums to define American Indian art within a modernist, twentieth century sense of world art history. However, after reestablishing Siyosapa’s agency in the creation and deployment of his drums and paintings, a far more complicated story emerges. While seemly offering “tourist art” or “market art,” his works also resemble diplomatic presentations, and represent material representations of his spiritual powers.

An open resource for scholars and a primary source for research: the Burlington Magazine online index

2011 ◽  
Vol 36 (3) ◽  
pp. 46-51 ◽  
Author(s):  
Barbara Pezzini
Keyword(s):  
Art History ◽  
Art Market ◽  
Primary Source ◽  
Free Text ◽  
Unique Role ◽  
History Of Art ◽  
History Of ◽  
Art Trade ◽  
History Of Art History ◽  
New Generation

The Burlington Magazine, with its juxtaposition of art trade and academia, historicism and aestheticism, has occupied a unique role in the international art historical panorama since it was first published in 1903. From its very beginnings the magazine had produced a detailed printed index, which reflected the diversity of its contents. In 2005 the magazine received a grant from the Andrew W. Mellon foundation to produce a cumulative online index from 1903 to the present. The Burlington Index is now online, nearly complete and free for all to use. Why did the Burlington need an index when it was already included in JSTOR? How is the Burlington Index structured and what is it based on? What are its aims and limitations? The Burlington Index wants to be a vessel to navigate the ocean of free-text available on JSTOR; a tool for research to open up the contents of the Burlington to a new generation of readers and, ultimately, a magnifying glass to reveal the magazine as a primary source for research on the history of art history, the art market and the art press.

Southern Sounds, Northern Voices

2018 ◽  
Vol 30 (4) ◽  
pp. 177-190
Author(s):  
Ryan Ben Shuvera
Keyword(s):  
North America ◽  
North American ◽  
Rock Music ◽  
Settler Colonialism ◽  
Country Music ◽  
Indigenous Languages ◽  
New West ◽  
White Settler ◽  
History Of ◽  
Native North America

Wilf Carter (Montana Slim) crossed the Canadian-U.S. border in 1935 to further his career as a country musician. Hank Snow moved to Nashville in 1945, reaching the stage of the Grand Ole Opry in 1950. Twenty-one years later Neil Young settled into Nashville’s Quadraphonic Sound Studio to record songs that would be featured on the album Harvest. Today, Nashville’s New West Records represents country-inspired Canadian musicians Daniel Romano and Corb Lund. These artists make up part of a notable history of northerners blending North American identities through country music. A significant and overlooked part of this history came to light in 2014 with the release of the Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 compilation from Light In The Attic Records. NNA (Vol. 1) is a collection of limited releases from Indigenous musicians from across Canada and Alaska. It is significant because it makes audible that Indigenous musicians performed—and continue to perform—country, folk, and rock music, challenging the borders and identities forced on them through settler-colonialism. These artists bring together southern sounds and northern voices—often using northern Indigenous languages—to articulate different experiences under North American colonization. This paper begins to explore how artists such as Willie Dunn, John Angaiak, and William Tagoona unsettle North American boundaries and identities through country music. This paper also begins to explore the opportunities and challenges this compilation presents to white settler listeners.

Book Reviews

Focaal ◽  
2005 ◽  
Vol 2005 (46) ◽  
pp. 176-186
Author(s):  
Franz Wojciechowski ◽  
Sarah Stohlman ◽  
Djamila Schans ◽  
David O'Kane ◽  
Ludwien Meeuwesen ◽  
...  
Keyword(s):  
North America ◽  
Student Mobility ◽  
Land Reforms ◽  
Native North America ◽  
Anthropology Of Tourism

Hermanten Kate, Travels and researches in Native North America, 1882–1883Rainer Ohliger, Karen Schönwälder, and Triadafilos Triadafilopoulos, European encounters: migrants, migration and European societies since 1945Elizabeth Murphy-Lejeune, Student mobility and narrative in Europe: the new strangersMarja J. Spierenburg, Strangers, spirits and land reforms: conflicts about land in Dande, Northern ZimbabweRenée R. Shield and Stanley M. Aronson, Aging in today’s world: conversations between an anthropologist and a physicianShinji Yamashita, Bali and beyond: explorations in the anthropology of tourism

Monastery, Monument, Museum

2017 ◽  
Author(s):  
Maurizio Peleggi
Keyword(s):  
Cultural History ◽  
Art History ◽  
Social Life ◽  
Eleventh Century ◽  
Devotional Art ◽  
Cultural Legacy ◽  
Political Ideologies ◽  
Cultural Sites ◽  
History Of ◽  
Intellectual Knowledge

Monastery, Monument, Museum examines cultural sites, artifacts, and institutions of Thailand as both products and vehicles of cultural memory. From rock caves to reliquaries, from cultic images to temple murals, from museums and modern monuments to contemporary artworks, cultural sites and artifacts are considered in relation to the transmission of religious beliefs and political ideologies, as well as manual and intellectual knowledge, throughout thelongue durée of Thailand’s cultural history. Sequenced by and large chronologically along a period of time spanning the eleventh century through to the start of the twenty-first, the eight chapters in this book are grouped into three sections that surface distinct themes and analytical concerns: devotional art in Part I, museology and art history in Part II, and political art in Part III. The chapters can even be read as self-contained essays, each supplied with extensive bibliographic references.By examining the interplay between cultural sites and artifacts, their popular and scholarly appreciation, and the institutional configuration of a cultural legacy, Monastery, Monument, Museum makes a contribution to the literature on memory studies. A second area of scholarship this book engages is the art history of Thailand by shifting focus from the chronological and stylistic analysis of artifacts to their social life—and afterlife. Monastery, Monument, Museum brings together in one volume a millennium of art and cultural history of Thailand. Its novel analysis and thought-provoking re-interpretation of a variety of artifacts and source materials will be of interest to both the specialist and the general reader.

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