LEADER 03356nam 22004453a 450 001 9910645963603321 005 20230124202251.0 010 $a1-4780-9078-2 024 8 $ahttps://doi.org/10.1215/9780822392095 035 $a(CKB)5460000000185181 035 $a(ScCtBLL)57cd713f-6a60-48dc-8d85-22b67066ab3f 035 $a(EXLCZ)995460000000185181 100 $a20211214i20092021 uu 101 0 $aeng 135 $auru|||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aThe Indian Craze : $ePrimitivism, Modernism, and Transculturation in American Art, 1890-1915 /$fElizabeth Hutchinson, Nicholas Thomas 210 1$a[s.l.] :$cDuke University Press,$d2009. 215 $a1 online resource (304 p.) 225 1 $aObjects/Histories 330 $aIn the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, "Indian stores," dealers, and the U.S. government's Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called "Indian corners." Elizabeth Hutchinson identifies this collecting as part of a larger "Indian craze" and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World's Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of "traditional" Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as "art." While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Ka?sebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture. 410 $aObjects/Histories 606 $aArt / American$2bisacsh 606 $aSocial Science / Ethnic Studies / American$2bisacsh 606 $aHistory / United States / 20th Century$2bisacsh 606 $aHistory 615 7$aArt / American 615 7$aSocial Science / Ethnic Studies / American 615 7$aHistory / United States / 20th Century 615 0$aHistory 700 $aHutchinson$b Elizabeth$0989139 702 $aThomas$b Nicholas 801 0$bScCtBLL 801 1$bScCtBLL 906 $aBOOK 912 $a9910645963603321 996 $aThe Indian craze$92262166 997 $aUNINA