World Art最新文献

{"title":"Visual essay 1","authors":"Chelsea M. Herr","doi":"10.1080/21500894.2019.1610788","DOIUrl":"https://doi.org/10.1080/21500894.2019.1610788","url":null,"abstract":"InWoodland Child in a Beaded Gas Mask, Naomi Bebo (Menominee/HoChunk) imagines an apocalyptic future in which visual signifiers of Native culture, such as Woodlands-style beadwork, take on darker connotations. The delicate floral motifs of the child’s clothing stand out in stark relief against the harsh and disconcerting presence of the gas mask. Often ceremonial in function, Indigenous masks can provide a connection to other animate and inanimate beings, to metaphysical realities beyond our own, and to time periods that extend before and after our own lifetimes. In an imagined future in which the air is ostensibly no longer safe to breathe, the recognition of the girl’s history – embodied in the beadwork designs and materials – collapses past, present, and future. While the mask itself implies an ominous, imminent danger, the figure’s regalia indicates a continuation of Indigenous traditions, values, and worldviews, even in the face of an apocalypse as yet unseen by the viewer.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132996101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual essay 7","authors":"Chelsea M. Herr","doi":"10.1080/21500894.2019.1610793","DOIUrl":"https://doi.org/10.1080/21500894.2019.1610793","url":null,"abstract":"In The Doctor’s Companion, Debra Yepa-Pappan (Jemez Pueblo/Korean) pictures the TARDIS (Time and Relative Dimensions in Space), from the BBC series Doctor Who, as it flies over a group of tipis and a female figure composed of the artist’s own portrait superimposed over an Edward S. Curtis photograph. The tipis bear the seal of the Time Lords, suggesting that the inhabitants are these powerful figures capable of manipulating space-time. Yepa-Pappan’s reference to the Time Lords alludes to the manipulability of the flow of time, which is a common, foundational characteristic of Indigenous conceptions of temporal reality. By envisioning Indigenous peoples as Time Lords, the artist re-centers sci-fi narratives to focus on Natives as the creators and arbiters of technology and progress. The Doctor’s Companion also positions Yepa-Pappan as an integral figure in the popular sci-fi narrative itself. Each iteration of the Doctor seeks out a human companion to accompany him on his travels through space-time. It is often the companion who brings stability, order, and level-headedness to the show’s narrative. This theme of equilibrium evokes many Indigenous understandings of men’s and women’s historic roles and responsibilities, which can be as complementary and reciprocal, although distinct from one another.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"31 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126091315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: Indigenous Futurisms in the hyperpresent now","authors":"Suzanne Fricke","doi":"10.1080/21500894.2019.1627674","DOIUrl":"https://doi.org/10.1080/21500894.2019.1627674","url":null,"abstract":"Introduced less than two decades ago, Indigenous Futurisms envisions the future from an Native perspective in fiction and in visual arts. Usually described through the disciplines of anthropology, cultural studies, and comparative literature, scholars including Grace Dillon, Jason Lewis, William Gaertner, and William Lempert, have explored the concept. As it has moved more and more into the visual arts, scholarship from an art historical approach is necessary. Through Indigenous Futurisms, artists including Sonny Assu, Andy Everson, Suzanne Kite, Ryan Singer, Skawennati, Hoka Skenandore, Jeffrey Veregge, and Debra Yepa-Pappan have addressed a range of difficult topics, including the long impact of colonization, institutional racism, destruction of the environment, and genocide. While many of these artists work in historic media such as painting, drawing, beadwork, and photography, the field encourages artists to explore new media including digital art, virtual reality, and websites. This essay consider the term “Indigenous Futurisms” and its impact of the field of visual culture and art history.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"95 26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129184612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual essay 4","authors":"Suzanne Fricke","doi":"10.1080/21500894.2019.1610791","DOIUrl":"https://doi.org/10.1080/21500894.2019.1610791","url":null,"abstract":"Frontier, part of the 1992 series This Land Is Mime Land, photographer and filmmaker Shelley Niro (Mohawk) photographed herself in a Federation uniform from the original Star Trek series, the uniform hand-tinted yellow to show that she is a member of the command staff. The artist is a fan of the TV series, since it offered a wider potential for women. Ironically referencing Woody Guthrie’s famous song ‘This Land Is My Land’ in the title, This Land Is Mime Land creates narratives about the past and the present, both historic and fictional. Each work in the series is a triptych with three photographs set on a mat board: an image from the artist’s personal family archives, an image of the artist in the present wearing a muted grey outfit, and an image of the artist in the guise of different cultural figures. Niro photographed herself as Marilyn Monroe, as Elvis Presley, as Santa Claus, and as Snow White. The artist added patterns reflecting Mohawk designs to the mat board by hand-drilling holes. The three images in Final Frontier suggests the power in the combination of a strong cultural connection to the past with a vision of the future.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129525139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Indigenizing the (final) frontier: the art of Indigenous storytelling through graphic novels","authors":"Yvonne N. Tiger","doi":"10.1080/21500894.2019.1638594","DOIUrl":"https://doi.org/10.1080/21500894.2019.1638594","url":null,"abstract":"When Indigenous artists and writers entered the graphic novel genre, they opened up the world of ancient tribal tales, traditions, and customs to a new generation of readers, thus allowing the past to relay important cultural knowledge to our youth while Indigenizing a Western-dominated art form. In this paper, I seek to contribute to the dialogue about Indigenous concepts of space, time, and the oral tradition, to include present and future iterations of our knowledge systems in Indigenous sci-fi and speculative storytelling graphic novels. I contend that Indigenous artists are reimagining an older pictorial tradition that relayed cultural ways of knowing the stars and the universe to our youth, and charting new ways forward by connecting the past to present in the process. These specific genres ‘retell’ and ‘re-understand’ traditional narratives with culturally grounded speculation about Indigenous futures and space, revealing a persistent cultural continuity that is deeply connected to our traditional terrains in fluid and exciting forms of artistic expression. I argue that Indigenous science fiction can, and does, critique and resist the continuation of settler-colonial endeavors by exploring and re-indigenizing a space that we have always been connected to, but is also customarily part of the settler frontier narrative in this genre.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128041760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual essay 5","authors":"Yvonne N. Tiger","doi":"10.1080/21500894.2019.1610792","DOIUrl":"https://doi.org/10.1080/21500894.2019.1610792","url":null,"abstract":"Born in Santa Fe, New Mexico, Hoka Skenandore (Oneida/Oglala Lakota/Luiseno/Chicano) combines imagery from science fiction pop culture with quintessential symbols of Americana, underscoring both In...","PeriodicalId":412489,"journal":{"name":"World Art","volume":"266 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122556728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fragmentary transmissions: on the poetics, practice, and futurism of Listener","authors":"S. Kite, Kristina Baudemann","doi":"10.1080/21500894.2019.1612465","DOIUrl":"https://doi.org/10.1080/21500894.2019.1612465","url":null,"abstract":"Listener is a foray into the Indigenous future. In her performance Kite impersonates a cloaked diasporic Oglála wanderer who listens for transmissions beyond the range of the humanly audible. This article provides different frameworks with which to approach Listener. Kite (Oglála Lakȟóta) will give insight into her background, introduce her art, and discuss some of the guiding questions behind it. This is followed by a dialogue with Baudemann, a non-Indigenous scholar who is interested in Kite’s motivations to create Listener, her use of technology, and her view of the future. This second part is a transcription of an interview conducted via Skype, an electronic transmission over a long distance. In the final part – an addendum, or afterthought – Baudemann contextualizes Listener as a Lakȟóta Futurism. Photos and a brief summary of the performance provide further insight into the piece. Framed as textual and visual transmissions, the short essays, transcribed dialogue, and images constitute signals in different frequencies, and they ask the reader to attune anew with every page they turn and to question again and again their own way of reading, of listening.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132200014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual essay 6","authors":"Suzanne Fricke","doi":"10.1080/21500894.2019.1621927","DOIUrl":"https://doi.org/10.1080/21500894.2019.1621927","url":null,"abstract":"In his fight to eliminate the use of racist mascots, artist and activist Rory Wakemup (Bois Forte Ojibwe) created his alter ego Darth Chief, Mascot Hunter. Wakemup, who has an MFA from the University of Wisconsin, Madison, and a BFA from the Institute of American Indian Arts, combines pop culture media and Pan-Indian culture to convey the experience of pseudo-ceremonies in his studio practice. Adapting Colonel Henry Pratt’s infamous maxim from 1891, ‘kill the Indian to save the man,’ Wakemup titled his seriesKill the Idiot to Save the Fan. The outfit forDarthChief reflects both his biological Anishinaabe father and the Lakota stepfather who raised him. Using a hand-crafted cast aluminum and glass Darth Vader suit, Wakemup added an elaborate glass feather headdress, glass on the shoulder armor tomimic a quilled Lakotawar shirt, aluminum leggingswith anAnishinaabe abstracted floral pattern screen-printed on glass slumped to fit, and a necklace of frosted glass bear claws to reflect the artist’s clan. For Wakemup, Darth Vader embodies the complexities between good and evil as well as the complexities in the father/son relationship.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126532941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Future history: Indigenous Futurisms in North American Visual Arts","authors":"Henrietta Lidchi, Suzanne Fricke","doi":"10.1080/21500894.2019.1627675","DOIUrl":"https://doi.org/10.1080/21500894.2019.1627675","url":null,"abstract":"World Art is delighted to have brought this special issue of the journal to fruition, its subject Indigenous Futurisms. As defined by Anishinaabe scholar Grace Dillon in Walking the Clouds: An Anthology of Indigenous Science Fiction, Indigenous Futurisms uses the images, ideology, and themes in science fiction to envision a future from a Native (Indigenous) perspective and create a newly valid ‘ ...way to renew, recover, and extend First Nations peoples’ voices and traditions’ (Dillon 2012, 1–2). This is an emerging and topical field which spans the historic arts of Indigenous North America, as well as graphic, performance and digital art, the producers of which engage in a dialogue with scholars in this volume through the visual essays and reproduced work. The impetus for this special issue was the panel ‘“The Force Will Be With You... Always”: Science Fiction Imagery in Contemporary Native American Art’ held at the Native American Art Studies Association biennial conference in Tulsa, Oklahoma (USA) in 2017. Many of the authors and some of the artists in this issue presented at that session, creating a sense of the exciting and robust scholarly work that it augured. Chaired by Suzanne Newman Fricke, the panel discussed questions of production and reception of new works in this field, and the manner in which science fiction intersects with Indigenous worldviews, and plays with different types of temporality which question the hardened notions of ‘traditional’ and ‘contemporary’ often invoked in the art-historical and anthropological appraisal of Indigenous North American art andmaterial culture. The African-American science fiction writer Octavia Butler (1998a) wrote that her covenant with science fiction was that she could not write about anything that could not actually happen. As Yvonne Tiger remarked in the 2017 session, and discusses in this issue, if the standard narrative of science fiction involves a hypothetical apocalypse, for Indigenous peoples this is recognizably real and personal. Colonial history on the American continent shows that apocalyptic events of humanmaking, involving conflicts","PeriodicalId":412489,"journal":{"name":"World Art","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126604420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rupturing settler time: visual culture and geographies of Indigenous futurity","authors":"Amber Hickey","doi":"10.1080/21500894.2019.1621926","DOIUrl":"https://doi.org/10.1080/21500894.2019.1621926","url":null,"abstract":"This article focuses on the implications of the work of two artists on discourses of temporality and Indigenous futurity. I analyze the work of Skawennati and Bonnie Devine, with particular consideration of their resistance to the hegemonic temporality of extractive and capitalist lifeways and what Mark Rifkin calls ‘settler time’ [Rifkin, Mark. 2017. Beyond Settler Time: Temporal Sovereignty and Indigenous Self-Determination. Durham: Duke University Press]. Skawennati provides a spiraling narrative of Indigenous pasts and futures in her machinima series, TimeTraveller™. In her sculptural installation, Letters from Home, Bonnie Devine calls upon the viewer to consider the stones from the Serpent River First Nation as elders. The casts of these stones are framed as texts, and viewers are encouraged to learn how to read these lessons, collapsing the divide between deep time and the present. Ultimately, I argue that these artists use emerging, experimental, and established media as a method of creating ruptures in Euro-Western notions of time, providing an embodied experience of a temporal otherwise and glimpses into decolonized futures.","PeriodicalId":412489,"journal":{"name":"World Art","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121607520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}