Custer on canvas : representing Indians, memory, and by Custer, George; Custer, George; Denzin, Norman K

By Custer, George; Custer, George; Denzin, Norman K

The 1876 occasions often called Custer’s final Stand, conflict of Little tremendous Horn, or conflict of Greasy Grass were represented over one thousand instances in numerous creative media, from work to sculpture to quickly nutrition giveaways. Norman Denzin exhibits how those representations display the altering perceptions—often racist—of local the USA via the bulk tradition, juxtaposed opposed to very diversified readings proven in works composed by way of local American artists. inclusive of autobiographical recollections, old description, inventive representations, staged readings, and snippets of records, this multilayered functionality ethnography examines questions of reminiscence, race, and violence opposed to local the US, as symbolized by means of the altering interpretations of basic Custer and his ultimate battle.

Show description

Read or Download Custer on canvas : representing Indians, memory, and violence in the new west PDF

Best art history books

The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece

Within the predawn hours of a dark February day in 1994, thieves entered the nationwide Gallery in Oslo and made off with one of many world's most famed work, Edvard Munch's Scream. It used to be a brazen crime dedicated whereas the total international was once gazing the hole ceremonies of the wintry weather Olympics in Lillehammer.

Architectural Styles: A Visual Guide

Have you puzzled what the adaptation is among Gothic and Gothic Revival, or the way to distinguish among Baroque and Neoclassical? This consultant makes large use of photos to spot and clarify the attribute positive aspects of approximately three hundred constructions. the result's a transparent and easy-to-navigate advisor to picking out the main varieties of western structure from the classical age to the current day.

Storia delle terre e dei luoghi leggendari


La nostra immaginazione è popolata da terre e luoghi mai esistiti, dalla capanna dei sette nani alle isole visitate da Gulliver, dal tempio dei Thugs di Salgari all’appartamento di Sherlock Holmes.

Ma in genere si sa che questi luoghi sono nati solo dalla fantasia di un narratore o di un poeta.

Al contrario, e sin dai tempi più antichi, l’umanità ha fantasticato su luoghi ritenuti reali, come Atlantide, Mu, Lemuria, le terre della regina di Saba, il regno del Prete Gianni, le Isole lucky, l’Eldorado, l’Ultima Thule, Iperborea e il paese delle Esperidi, il luogo dove si conserva il santo Graal, l. a. rocca degli assassini del Veglio della Montagna, il paese di Cuccagna, le isole dell’utopia, l’isola di Salomone e l. a. terra australe, l’interno di una terra cava e il misterioso regno sotterraneo di Agarttha. Alcuni di questi luoghi hanno soltanto animato affascinanti leggende e ispirato alcune delle splendide rappresentazioni visive che appaiono in questo quantity, altri hanno ossessionato los angeles fantasia alterata di cacciatori di misteri, altri ancora hanno stimolato viaggi ed esplorazioni così che, inseguendo una illusione, viaggiatori di ogni paese hanno scoperto altre terre.

George Inness and the science of landscape

George Inness (1825-94), lengthy one in every of America's maximum panorama painters, has but to obtain his complete due from students and critics. a classy artist and philosopher, Inness painted stunningly attractive, evocative perspectives of the yankee nation-state. much less attracted to representing the main points of a selected position than in rendering the "subjective secret of nature," Inness believed that taking pictures the spirit or essence of a traditional scene may perhaps aspect to a truth past the actual or, as Inness positioned it, "the fact of the unseen.

Extra info for Custer on canvas : representing Indians, memory, and violence in the new west

Sample text

Political art! Speaker Two: Robert Taft (in blackface) The Last Stand pictures fascinate all beholders . . [but] the scene is totally imaginary, for no white witness survived the Custer tragedy. . Hence, as historical documents, pictures of Custer’s Last Stand are admittedly worthless (1953, pp. 130–131, emphasis added). A Good Day to Die 33 Speaker One: Coyote 2 Whose imaginary? Lakota and Cheyenne men, women, and children survived, told their stories, made paintings, did oral histories. Discounting the Last Stand pictures by white artists allows Taft to discount the Lakota and Cheyenne stories and drawings.

Accepting official memory/history conceals fierce conflicts of interest between conquerors and conquered, between masters and slaves, Indians and whites, a world of victims and executioners (Zinn, 60 Chapter One 2003, p. 10). In such a world, it is “the job of thinking people not to be on the side of the executioners” (Zinn, 2003, p. 10) in the case of Custer, the American military. The Custer Last Stand narratives are about the endless production of official history. They represent a preoccupation with power, memory, loss, race, masculinity, heroes, Manifest Destiny.

Women and old men rounded up the horses. The women brought in wooden sledges pulled by ponies to carry the dead and wounded away. The women who lost their men cried and cut the bodies of the dead soldiers in a ritual of revenge and mourning. Many women and children were yelling, laughing, and singing (Welch, 1994, p. 180). They sang these words: “Our brave women and warriors went onto the battlefield and avenged the 46 Chapter One deaths of our brave men. m. Hi-es-tzie (Custer) was accorded special treatment.

Download PDF sample

Rated 4.69 of 5 – based on 37 votes