Native “Art” and the Art Historical Canon (Why I Don’t Teach Native American Art History--and Why You Should)
With the passage of the Native American Graves Protection and Repatriation Act, as well as the rise of organizations such as the Association for Tribal Archives, Libraries, and Museums, the cultural sovereignty of Native tribal Nations has been increasingly recognized. Evidence of this recognition may be found in the passage of the United Nations Declaration on the Rights of Indigenous People; the removal of Native cultural resources in institutions like the Field Museum in Chicago, based on the input of Native curators; the guidelines for research set forth in the Protocols for Native American Archival Materials; and other positive measures, including the heightened profile of Native art in survey courses, textbooks, and exhibitions. Yet consensus has yet to be reached among the public, art historians, curators, and tribal Nations about “what can and should be shared, when, and who has authority over cultural domains.” Indeed, consensus has not been reached over which Native cultural resources fit within Western definitions of “art.” In this talk I will discuss (1) the challenges faced in placing Native cultural resources within traditional art historical classes, texts, collections, and institutions, and (2) my decision not to teach Native American art history. Note: I am not Native. This talk is informed by collaborative work with the Federated Indians of Graton Rancheria, work as a CalNAGPRA Tribal Liason, and affiliation with the Association of Tribal Archives, Libraries, and Museums.