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Department_Chair: Cynthia Clabough
Department_Chair_Email: clabough@oswego.edu
Additional_Contact: Lisa Seppi, Art Historian
Additional_Contact_Email: seppi@oswego.edu

Course_Number: Art 358
Course_Type: Updated Course
Course_Title: Native North American Indian Art and Architecture

Catalog_Description: 
This course is a survey of North American Indian art and architecture, ranging from the pre-contact period to the present day. Students will evaluate works of art and architecture, and also the art historical and anthropological methodologies, theories, and practices that structure our encounters with Native American art and culture.

Prerequisites: Art 250
Fl - every Fall: Yes
Semester_Hours: 3

Justification: 
A.	This course offers an interdisciplinary look at the art and architecture of Native North America.  The course proceeds chronologically, geographically and topically in its coverage of the material.
B.	The study of ancient and early historic North American Indian art will offer new insight into the classification and progress of art both in non-Western North American Indian cultures, and in Western cultures.
C.	A survey of contemporary Native artists demonstrates the boundaries placed around minorities in American society, and the resourcefulness of these artists in converting boundaries into aesthetic benefit.
D.	Through the study of Native American art, students will increase their understanding of the diversity and depth of Native American societies. Exposure to Native American artists’ and scholars’ points of view will inform students’ own production and contribute to a more reliable understanding of the Native societies in general as well as those concentrated in central New York.
E.	This course provides exposure to different critical methods of analyzing Native American art
F.	The course offers research opportunities in the library for purposes of writing a research paper.
G.	Offered each fall semester. Enrollment: 25 students.
A.	Identify and discuss major architectural monuments, two-dimensional and three-dimensional works of art.
B.	Students will learn to recognize, understand and discuss a variety of methodologies and theories including art history, anthropology, cultural studies, ethnography, gender studies, post-colonialism and postmodernism.
C.	By considering rival theoretical models applied to Native American art, students will acquire the tools for contemplating Western and non-Western production of art and meaning.
D.	Students will increase their skills at verbalizing the qualities of visual art and of ethnicity with the appropriate disciplinary language.
E.	Students will examine the ideals and goals of Native peoples and recognize the heterogeneity of Native North American Indian cultures.
F.	Students will further practice academic research and writing standards.  

Course_Objectives: 
A.	Identify and discuss major architectural monuments, two-dimensional and three-dimensional works of art.
B.	Students will learn to recognize, understand and discuss a variety of methodologies and theories including art history, anthropology, cultural studies, ethnography, gender studies, post-colonialism and postmodernism.
C.	By considering rival theoretical models applied to Native American art, students will acquire the tools for contemplating Western and non-Western production of art and meaning.
D.	Students will increase their skills at verbalizing the qualities of visual art and of ethnicity with the appropriate disciplinary language.
E.	Students will examine the ideals and goals of Native peoples and recognize the heterogeneity of Native North American Indian cultures.
F.	Students will further practice academic research and writing standards.  

Course_Description: 
A.	THEORIES AND METHODS
1.	Art History
2.	Archeology, Cultural Anthropology, and History
3.	Visual Culture and the New Art History
4.	Ethnography and ethnocriticism
B.	PREHISTORIC PERIOD: ca. 8000 BC-ca. 1650 AD
1.	Early & Middle Archaic
2.	Late Archaic
3.	Early Woodlands 
a)  Adena
b)  Hopewell
4.  Late Woodlands
a)  Mississippian
5.  Southwest
a)   Hohokam
a)	Mimbres/Mogollon
b)	Anasazi
C.	HISTORIC/CONTACT PERIOD: ca. 1650-ca. 1900
1.	Great Lakes/Woodlands, Prairie
a)   Men’s Art: Sculpture & Pictographs
           b)  Women’s Art: Textiles & Dress
	     c)   Tourist Art
2.	Plains
a)   Men’s Art:  Sculpture & Pictographs
b)   Women’s Art: Textiles & Dress
c)   Ledger Art
3.	Plateau and California
a)    Basketry
4.	Northwest Coast and Arctic
a)   Masquerade & Potlatch
b)   Formline Design
c)	Carving & Weaving
     5.   Southwest
	     a)  Pueblo pottery
	     b)  Kachina ceremonies
           c)  Navajo sand painting and weaving
D.	ART EDUCATION FOR NATIVE AMERICAN ARTISTS 1918-62
1.	Tulsa, Oklahoma 
2.	Santa Fe, New Mexico
a)  Santa Fe Indian School (The Studio)
b)  Institute of American Indian Arts (IAIA)
E.	CONTEMPORARY ARTISTS
1.	Painters
2.	Sculptors
3.	Ceramic and Glasswork
4.	Textiles
5.	Mixed-Media Installation
6.	Performance art
7.	Video & film
8.	Photography
F.	FEDERAL CONTROL OF NATIVE AMERICAN ART
1.	Indian Arts & Crafts Board, Buy Indian Act
2.	Native American Grave Protection and Cultural Patrimony Act
3.	National Museum of the American Indian Act

Resources: 
No additional resources necessary, other than continued acquisition of slides, books and video tapes. Compensation for regional artists may be arranged through the Native American Studies Program while it exists. There is no need for computing services at this time.

Bibliography: 
Abbott, Lawrence. I Stand in the Center of the Good: interviews with Native American artists. Lincoln: University of Nebraska Press, 1994.

Archuleta, Margaret, Pathbreakers: The Eiteljorg Fellowship for Native American Fine Arts, 2003. Seattle and London: University of Washington Press and the Eiteljorg Museum of American Indians and Western Art, 2003.

Archuleta, Margaret and Rennard Strickland. Shared Visions: Native American Painters and Sculptors in the Twentieth Century. New York: The New Press, 1991.
      
Berkhofer, Robert Jr.  The White Man’s Indian: Images of the Indian from Columbus to Present. New York: Vintage Books, 1978.
      
Berlo, Catherine Janet, ed. The Politics of Scholarship and Collecting: The Early Years of Native American Art History. Seattle and London: University of Washington Press, 1992.
      
Berlo, Catherine Jane and Ruth Phillips, eds. Native American Art. Oxford: 
Oxford University Press, 1998.
      
Bird, Elizabeth, ed. Dressing in Feathers: The Construction of the Indian in American Popular Culture. Westview Press, 1996.
      
Broder, Patricia Janis.  Earth Songs, Moon Dreams: Paintings by American Indian Women.  New York, NY: St Martins Press, 1999.

Brody, J.J. Mimbres Pottery: Ancient Art of the American Southwest. New York: Hudson Hills, 1983.

Brody, J.J. Indian Painters and White Patrons. Albuquerque: University of New Mexico, 1971.

Brose, David S, James A. Brown and David W. Penney. Ancient Art of the 	American Woodlands Indians. New York: Harry N. Abrams, 1985.
      
Brown, Dee. Bury My Heart at Wounded Knee: An Indian History of the American West. New York: Henry Hold and Company, 1970.
	      
Brown, Steven C.  Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century.  Seattle: The Seattle Art Museum in association with the University of Washington Press, 1998.
      
Carter, John E.  “Making Pictures for a News-Hungry Nation.” In Eyewitness at Wounded Knee. Lincoln: University of Nebraska Press, 1991.
	      
Cobb, Daniel M. and Loretta Fowler eds., Beyond Red Power: American Indian politics and activism since 1900.  Santa Fe, NM, School for Advanced Research, 2007.
      
Cornell, Stephen E.  The Return of the Native: American Indian Political Resurgence. New York and Oxford: Oxford University Press, 1988.
Cornell, Stephen E. and Douglas Hartmann. Ethnicity and Race: Making Identities, 1998
      
Dubin, Margaret.  Native America Collected: The Culture of an Art World.  Albuquerque, NM: University of New Mexico Press, 2001.
 	     
Duffek, Karen and Tom Hill. Beyond History. Vancouver: Vancouver Art Gallery, 1989.
      
Durham, Jimmie.  “A Central Margin.” In The Decade Show: Frameworks of Identity in the 1980s.  New York: Museum of Contemporary Hispanic Art, New Museum of Contemporary Art, and Studio Museum of Harlem, 1990.
                   
Fair, Susan and Jean Blodgett.  Alaska native art: tradition, innovation, continuity.  Fairbanks, AK: University of Alaska Press, 2006.
       
Feest, Christian F. Native Arts in North America. Updated Edition. New York: 	Tahmes and Hudson, 1992.
       
Fleming, Paula Richardson and Judith Luskey.  The North American Indians in Early Photographs. 1986. Reprint. New York: Barnes and Nobles, 1992.
      
Gentry, Carol M. and Donald A. Grinde, Jr. The Unheard Voices: American Indian Responses to the Columbian Quincentenary, 1492-1992.  Los Angeles: University of California, 1994.
      
Gritton, Joy.  The Institute of American Indian Arts: Modernism and U.S. Policy. Albuquerque, N.M.: University of New Mexico, 2000.
      
Hill, Richard Sr. and Truman Lowe.  Who Stole the Tee Pee?  Washington, D.C.:Smithsonian Institution, 2000.
      
Hiller, Susan. The Myth of Primitivism, Perspectives on Art. New York and London: Routledge, 1991.
	      
Horse Capture, George, Duane Champagne and Chandler C. Jackson eds. American Indian nations: yesterday, today, and tomorrow.  Lanham, MD: AltaMira Press, 2007.
      
Jaimes, Annette M., ed. The State of Native America: Genocide, Colonization, and Resistance. Boston: South End Press, 1992.
      
Johnson, Troy and et al, ed.  American Indian Activism, Alcatraz to the Longest Walk.  1997.
      
Josephy Alvin M., Jr., Joane Nagel and Troy Johnson, eds.  Red Power: The American Indians’ Fight for Freedom. 1971. Reprint. Lincoln and Lincoln: University of Nebraska, 1999.
      
Josephy, Alvin M., Jr., Trudy Thomas and Jeanne Eder, eds. Wounded Knee: Lest We Forget. Cody, Wyoming: Buffalo Bill Historical Center, 1993.
      
Lerma, Patricio ChaLiz and Sylvia Orozco, eds. Counter Colo-ialismo. Austin, Texas: Centro Cultural de la Raza MARS, Movimiento Artistico del Rio Salado MEXIC-ARTE Museum, 1992.
      
Lewallen, Arlene. Nourishing Hearts, Creative Hands: Contemporary Art By Native American Women. Hampton, Virginia: Hampton University Museum, 1998.
      
Lippard, Lucy R. Mixed Blessing: New Art n a Multicultural America. New York: Pantheon, 1990.
      
Matthews, Zena Pearlstone and Aldona Jonaitis. Native North American Art History: Selected Readings. Palo Alto: Peek Publications, 1992.
	      
McMasters, Gerald.  New tribe, New York: the urban vision quest.  Washington, D. C.: Smithsonian National Museum of the American Indian, 2005.
      
McMasters, Gerald, ed. Reservation X: The Power of Place in Aboriginal Contemporary Art. Seattle and Hull, Quebec: University of Washington Press and Canadian Museum of Civilization, 1998.
      
McMaster, Gerald and Lee-Ann Martin, eds., Indigena: Contemporary Native Perspective on Canadian Art. Montreal: Canadian Museum of 	Civilization, 1992.
      
Morrison, George, Allan Houser and Truman Lowe.  Native modernism: the art of George Morrison and Allan Houser.  Washington D.C.: Smithsonian National Museum of the American Indian in association with University of Washington Press, 2004.
      
Nabokov, Peter, ed.  Native American Testimony: Chronicles of Indian-White Relations from Prophecy to the Present, 1492-1992. 1978. Reprint. New York: Penguin Books, 1991.
      
Nagel, Joane.  American Indian Ethnic Renewal: Red Power and the Resurgence of Identity and Culture. New York and Oxford: Oxford University Press, 1997.
	      
National Museum of the American Indian.  Essays on native modernism:complexity and contradiction in American Indian art.  Washington, D.C.: National Museum of the American Indian, 2006.
      
Nemiroff, Diane, Robert Houle, and Charlotte Townsend-Gault. Land, Spirit,Power: First Nations at the National Gallery of Canada. Ottawa: National Gallery of Canada, 1992.
	       
Pearlstone, Zena, Allan J. Ryan and Joanna Woods-Marsden, eds.,  About face: self-portraits by Native American, First Nations, and Inuit artists.  Santa Fe, NM: Wheelwright Museum of the American Indian, 2006.
 
Penney, David S. Art of the Native American Frontier: Masterworks of Native American Art. Detroit: Detroit Institute of Arts, 1993.
 
Penney, David and George Longfish. North American Indian Art. New York: Thames and Hudson, 2003.
 
Phillips, Ruth B.  Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700-1900.  McGill Queens University Press, 1999.
       
Rushing, W. Jackson ed., Native American Art in the Twentieth Century: Makers, Meanings, Histories.  London and New York: Routledge, 1999.
   
Ryan, Allan J. The Trickster Shift: Humor and Irony in Contemporary Native Art. Vancouver and Toronto: UVC Press, 1999.
 
Schrader, Robert Fay. The Indian Arts & Crafts Board: an Aspect pf New Deal Indian Policy. Albuquerque: University of New Mexico Press, 1983.
 
Smith, Juane Quick-To-See Smith, curator. Our Land/Ourselves: American Indian Contemporary Artists. Albany: University at Albany Art Gallery, 1991.
       
Smith, Jaune Quick-to-See and Erin Younger.  Women of Sweetgrass, Cedar, and Sage: Contemporary Art by Native American Women.  New York, NY: Gallery of the American Indian Community House, 1985.
       
Smith, Paul Chaat and Robert Allen Warrior. Like a Hurricane: The Indian Movement from Alcatraz to Wounded Knee. New York: The New Press, 1996.
       
Summerhill, Stephen J. and John A. Williams.  Sinking Columbus: Contested History, Cultural Politics and Mythmaking during the Quincentenary. Gainesville, Florida: University of Florida Press, 2000.
       
Szabo, Joyce M. ed., Painters, Patrons, and Identity: Essays in Native American Art to Honor J.J. Brody. Albuquerque: University of New Mexico, 2001.
	      
Townsend, Richard, Robert V. Sharp and Garrick Alan Bailey, eds., Hero, hawk, and open hand: American Indian art of the ancient Midwest and South.  Chicago: Art Institute of Chicago in association with Yale University Press, 2004.
      
Townsend-Gault, Charlotte and Mary Anne Moser, eds.  Re-visions. Banff,Alberta: Walter Phillips Gallery, 1992.
       
Truettner, William, ed. The West As America: Reinterpreting Images of the Frontier. Washington and London: Smithsonian Institution Press, 1991.
       
Vine, Deloria Jr.  Custer Died for Your Sins: An Indian Manifesto. 3rd ed. Norman and London: University of Oklahoma Press, 1989.
 
Wade, Edwin L., ed. The arts of the North American Indian. New York: Hudson Hill, 1986.
 
Wade, Edwin L. and Rennard Strickland, eds. Magic Images: Contemporary Native American Art. Norman: University of Oklahoma Press, 1981.
       
WalkingStick, Kay and Ann E. Marshall.  So Fine!: Masterworks of Fine Arts from the Heard Museum.  Phoenix, AZ.: Heard Museum, 2002.

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IP_Adress: 129.3.29.135