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Indians 101: American Indian art 100 years ago, 1925 [1]
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Date: 2025-02-25
The concept of a discrete category called American Indian Art is a Euro-American concept which was refined during the twentieth century. Traditionally, American Indians had improved the aesthetics of the things they made, but they did not conceptualize art as something separate from function. In his book Native Arts of North America, Christian Feest writes:
“None of the native languages of North America seem to contain a word that can be regarded as synonymous with the Western concept of art, which is usually seen as something separable from the rest of daily life.”
As non-Indians encountered Indians, they often acquired (through purchase, trade, gifting, or theft) some of the artifacts that Indians had made. These were then displayed in cabinets of curiosities in homes, offices, and natural history museums. Neither Indians nor non-Indians classified these objects as art, and most non-Indian collectors simply considered them to be examples of Indian crafts. The items displayed in these cabinets of curiosities were items that Indian people had made for their own use. Today’s art historians would classify them as examples of tribal art. Christian Feest writes:
“Tribal art was (and is) produced by members of tribal societies primarily for their own or their fellow members’ use.”
Christian Feest goes on to write:
“Tribal art was not made for its own sake, but to satisfy the material or spiritual needs of the tribesmen.”
As tourists encountered Indians, they wanted to buy souvenirs. The Indians, in response to market demand, began to make traditional items not for tribal use, but for sale to the tourists. In her book The Living Tradition of Yup’ik Masks, Ann Fienup-Riordan reports:
“The early 1900s saw an upswing in the purchase of native artifacts, including masks. Whereas during the Victorian era collecting had been the domain of the rich, at the turn of the century owning and displaying Native American artifacts of all kinds became an increasingly widespread expression of the antimodernism that arose in the United States. Baskets and carvings neatly arranged in a corner cabinet in many middleclass homes served to remind ‘civilized’ owners of their own innocence. Native Americans were viewed as vanishing, and everyone wanted a piece of their past before they went.”
As with any entrepreneurial enterprise, the Indian craftspeople paid attention to what sold and what did not and thus began to make more of the items which sold well. In addition, non-Indian traders who sold Indian crafts often made suggestions regarding designs, styles, and colors. The non-Indian tourist stereotypes of what was Indian and what was not began to shape the Indian art market.
This tourist-oriented Indian art market is what Christian Feest calls ethnic art:
“Ethnic art was (and is) produced by members of tribal societies primarily for the use of members of other groups, in the case of North America mainly for White Americans. It is generally not thought of as art by its makers, who still live in a social context that does not recognize art as something separate.”
Christian Feest also writes:
“The maker of ethnic art often does not know why his products are bought and what possible use the buyer may make of them. For himself they are first of all a source of income; in the long run they may become an important symbol of the makers’ ethnic identity.”
Ethnic art, however, is often considered to be a form of craft, not “fine” art and is often ignored by art museums. This began to change, however, due to the influence of the artist Paul Cezanne. While not Native American, or directly involved with Native Americans, his work opened up art museums to consider Indian art as fine art rather than just craft. In discussing Anasazi painting, art historian J.J. Brody, in his book Anasazi and Pueblo Painting, states:
“A modern history of Anasazi painting could be said to begin with Paul Cezanne” and “Before Cezanne, it was not possible for Anasazi or Pueblo painting to be classified as art in the Western art classification system.”
In a similar vein, art critic Michel Waldberg, in his chapter in Robes of Splendor: Native North American Painted Buffalo Hides, writes about Indian art:
“It wasn’t until the aesthetic revolutions brought on by cubism, and especially surrealism, and the establishment of anthropology as a science, that objects previously limited to curiosity status legitimately attained the dignity of art.”
Because of the influence of Cezanne, by 1912, American art museums were beginning to exhibit Native American works as forms of art.
As the market for Indian Ethnic Art increased, by both private collectors and museums, a type of Pan-Indian Art developed. Christian Feest explains:
“Pan-Indian art is produced by native Americans who feel themselves no longer exclusively bound to the values and customs of their original tribal society. They work for the art market of the dominant White society and consequently regard themselves as artists.”
Christian Feest goes on to write:
“While still drawing on the experience of their specific cultural background, their style is no longer unique to the tribe, but is largely shaped by White expectations about ‘Indian style.’”
Briefly described below are some of the American Indian art events of 100 years ago, in 1925.
Brooklyn Museum
In New York, the Brooklyn Museum opened a new gallery—the Rainbow House—to present world cultures.
In 1925, the Exhibition of the Decorative Arts of the American Indian was held in New York City and included materials from the Brooklyn Museum (Navajo blankets, Pomo baskets, Hopi pottery, Zuni masks, and shields) and contemporary art from the Eastern Association on Indian Affairs.
Denver Art Museum
In Colorado, the Denver Art Museum established a formal collecting program for American Indian art. Edgar McMechan became the first curator of the Department of Indian Art and undertook an active program of field collecting as well as devising a catalog system for the collection.
Tesuque Pueblo
In New Mexico, Tesuque artist Juan Pino (1895-1953) began to be recognized for making prints in a bold and graphic style, using linoleum block printing to express Pueblo life. In her chapter in Painters, Patrons, and Identity: Essays in Native American Art to Honor J.J. Brody, Ruth Lanore writes:
“Moving away from a strict adherence to images of ceremonial scenes and dances, Pino depicted Pueblo people actively working and traveling among the village buildings, fields, and mountains.”
His works were displayed in exhibitions at the Museum of Fine Arts, the Denver Art Museum’s Chappell House, and the Santa Fe Fiesta’s Southwest Indian Fair. He gained some acclaim for his depictions of animals. At this time, Juan Pino was the only Indian artist known to be working solely in the print medium.
Washo
In Nevada, Washo basket weaver Dat-so-la-lee died at the age of 90. In her biographical sketch of Dat-so-la-lee in Notable Native Americans, Lori J. Sawicki writes:
“One of the most famous weavers in the world, Datsolalee was a major influence on the evolution of the Washo fancy basketry and is recognized as the greatest basket weaver and designer among the Washo people.”
During her life she created about 300 baskets, of which 80 are considered to be extremely valuable. She wove her works at 36 stitches to the inch and some of her works took her a year to complete.
More 20th century American Indian history
Indians 101: American Indians and the federal government 100 years ago, 1924
Indians 101: American Indians and the states 100 years ago, 1924
Indians 101: The American Indian Citizenship Act of 1924
Indians 101: American Indian art and heritage 100 years ago, 1923
Indians 101: Art, Education, and Sports 100 years ago, 1922
Indians 101: American Indian art 100 years ago, 1921
Indians 101: American Indians and the 1904 St. Louis Louisiana Purchase Exposition
Indians 101: The Last Great Indian Council (1909)
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