As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programs—and how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native art’s commodity status and the artist’s position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene d’Harnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art “revivals” as it opens a new window on the Indian New Deal.
On the process of naaxiin weaving, see Samuel, The Chilkat Dancing Blanket. Tricia Brown, Silent Storytellers of Totem Bight State Historical Park, 25. 41 See Samuel, The Chilkat Dancing Blanket, 36. See Garfield and Forrest, ...
Celebrates the 75th anniversary of the U.S. Public Works of Art Program, created in 1934 against the backdrop of the Great Depression. The 55 paintings in this volume are a...
The Indian Arts & Crafts Board: An Aspect of New Deal Indian Policy
Arizona’s art history is emblematic of the story of the modern West, and few periods in that history were more significant than the era of the New Deal.
The book examines these women's interpretations of their artwork and their thoughts on tribal history and contemporary life.
Such programs, all of which influenced Navajo weaving in important ways, are the subjects of this chapter. e sale and production of Southwest Indian arts and cras in the areas serviced by the railroads increased steadily throughout the ...
Indians of the Americas . New York , 1947 . On the Gleaming Way . ... American Indian Leaders : Studies in Diversity . Lincoln , Nebr . , 1980 . > . ... Symposium on Local Diversity in Iroquois Culture . Bureau of American Ethnology ...
This groundbreaking volume (which accompanies an exhibition at the Tacoma Art Museum) offers the first comprehensive survey of the impact of federal arts projects in the Pacific Northwest.
NEW DEAL PUBLIC ART IN NEW DEAL PUBLIC BUILDINGS TRUTH OR CONSEQUENCES POST OFFICE 200 Main (no longer the Main Post Oflice Building) Contact Person: ... In 1950 the town elected to change the town's name after winning a challenge ...
The genial Governor Crist was just as popular, but when he ran for Senate, a young conservative named Marco Rubio refused to step aside, bashing Crist for supporting the stimulus. “That was the moment I realized what was at stake,” ...