Stereotype. Historical Perspective: historical accuracy vs. exaggeration romanticism based on historical stereotype. Loren Entz “A Primative Painter”. Loren Entz “The Young Hunter”. What is a visual reference you have encountered (on one or more occasions) that perpetuates stereotype:
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Loren Entz “A Primative Painter”
Loren Entz “The Young Hunter”
-propagation of romantic “Ideal”
Early 1600's East Coast Native American
Native American Costume Crochet Project
Brule Sioux Buckskin War Shirt from the Museum of the American Indian, New York This example was $4850 (includes shipping)
T-Shirt available online ($10)
Yoram Wolberger, Lewis DeSoto,
-Began making military “toy” sculptures in 2001; branched off into producing “Cowboys & Indians” series in 2005
-Used a “…cheap, brightly colored injection molded figure that was 1 ½” tall.” (expanded these to life-sized)
Interested in PROCESS:
- “…the small toy Indian is innocent and relatively benign, blowing it up reveals its true nature as a grotesquely distorted stereotype.”
- “The artist is careful to leave flashing and details from the original, for these ‘flaws’ get to the heart of his concern…continuation of toy cowboys and Indians as child's’ role models in our supposedly enlightened time.”
-Working with his personal history as an “art subject” (combining the conqueror and conquered): Lewis Desoto’s family lineage is vaguely linked to the explorer Hernando (de) Soto)
-On the piece titled Cahuilla: ”This 1981 GMC Cahuilla is a “badge-engineered” automobile that takes styling elements to create a version of a powerful truck that symbolizes the new Native American economic riches and tastes.”
- This piece reflects the resurgence of Native American economic power within the U.S. In particular it addresses issues related to the Police raid of the “Desert Oasis Poker Parlor” on the reservation of the Cabazon Band of Mission Indians in 1980.
“As a member of this group of Native Americans, I have watched the fortunes change for the Cahuilla people since the 1950’s when Native Americans were referred to as “dirty Indians,” a people that lived in poverty, in the dust of the desert, history forsaken and invisible to the suburban America where I grew up.”
Lewis DeSoto’s “Cahuilla”
Mock-up for a large-scale work of thirteen customized cars, “La Cena Pasada,” is based on fresco of The Last Supper, by Da Vinci. (2002)
Lewis Desoto’s “Conquest”
-This work appropriates the nondescript Desoto Company (which went out of business in 1961); a company begun in 1929 and named after the cruel Spaniard
“…Ironically, the DeSoto was marketed to women in the 1950’s; it was well known that (Hernando) DeSoto would commonly enslave and rape the captured women of tribes he had encountered on his path through the southeast to the fateful battle with Tuscaloosa. -Lewis Desoto grew up admiring vehicles, and was asked about the connection between his family name and the Desoto Company; this interest would eventually result in his creation of the “Conquest”
-Challenges expectations and knowledge of those familiar with classic cars; it is a “…counterfeit product…never existed within the history of the marquee.”
-The vehicle is based on a mid-60’s Chrysler, but physically transformed, these transformations including an emblem created for rear side panels of car (Conquistador’s sword superimposed on the work CONQUEST), a “disc” containing the pattern of a traditional Cahuilla basket, encircled by the word ORTHOPOXVIRIDAE (Latin for smallpox). Other modifications include redesigned instruments, wheel covers, upholstery, etc.
-Coupled with the physical transformation are:
“…various documents that illustrate the mentality of the colonial mind.” (on window sticker and in owner’s manual remnants of the REQUIREMIENTO are reprinted)
-The work is a site specific/ performance piece: meant to move from place to place, and be driven “…meant to infiltrate the culture”. With it Desoto intended to cover the route taken by the Conquistador’s as they made their way through the Southeast
-Ongoing series titled “Place and Time” (1999-current): exploration of American history, using photography to document staged pageants/ re-enactments of historical incidents
-She’s documented re-enactments that revolve around the journeys of Lewis & Clark, the Gold Rush, the Battle of Little Big Horn, the Oregon trail, and others
- The re-enactments themselves are somewhere between entertainment and educational for many; Winograde is interested in the interaction between PAST and PRESENT
- Winograde is investigating the idea that “…the West is seen as a so-called wild and free fantasy world.” She’s also examining the escapist aspects of the re-enactments, as vehicles for participants to escape their present lives/ circumstances
- She examines the social construct & stereotype tied to the roles played by those in the re-enactments; what does it feel like to be a Native American or a non-Native, or even a mixed-blood individual participating in these “shows”?
Edie Winograde “The Flaying”
“I became captivated by the way this reenactment referenced so many layers of history and raised so many questions about our present-day relationship to the past…especially interested in reenactments that take place in their original location, where the local people’s connection to the place and its history form the impetus for the staging of the event.”
- These works celebrate familiar imagery: depictions of the West common in paintings, movies and TV shows…the West, more than any other region in the U.S is a “Myth-laden realm”.
BATTLE ON THE LITTLE BIGHORN, 2004
A DAY IN THE LIFE OF LEWIS AND CLARK I, 2004
What is a social situation you have observed and/or participated in that makes use of/ reflects regionally specific stereotypes regarding Native Americans?