Passing Through: Plains Indigenous Art and Hospitality in Glacier National Park.
On the walls of the Many Glacier Hotel in Glacier National Park once hung one of the largest programs of two-dimensional works completed by Indigenous artists in the early twentieth century. Using over one-hundred and eighty feet of canvas and involving (by some estimates) well over twenty-five Sout...
| Publicado en: | Art Journal Vol. 83; no. 4; pp. 156 - 176 |
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| Autores principales: | , |
| Formato: | Artículo |
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Taylor & Francis Ltd
Winter2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=184650439&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 184650439 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00043249 ARJ jtl: Art Journal issn: 00043249 maglogo: N pubinfo: dt: Winter2024 vid: 83 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 184650439 10.1080/00043249.2024.2409016 ppf: 156 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.6MB tig: atl: Passing Through: Plains Indigenous Art and Hospitality in Glacier National Park. aug: au: Zordan, Joseph Tang, Rachel su: Indigenous art Narrative art American art National parks & reserves Indigenous peoples Mural art sug: subj: Indigenous art Narrative art American art National parks & reserves Indigenous peoples Mural art ab: On the walls of the Many Glacier Hotel in Glacier National Park once hung one of the largest programs of two-dimensional works completed by Indigenous artists in the early twentieth century. Using over one-hundred and eighty feet of canvas and involving (by some estimates) well over twenty-five South Piegan artists, this monumental commission of Plains narrative art was dense with the young and old warrior's war exploits from across decades of their lives. Yet even with its notable scale, this work has been largely forgotten within broader American art historical narratives and much of it was unceremoniously destroyed or dispersed, with only four original panels, and a few period accounts, photographs, and reproductions remaining of the work. Still, the curious history of this mural program presents a rich opportunity to examine the complex entanglements between Indigenous peoples, tourists, external corporations, and the national parks. Afterall, what does it mean for an Indigenous history of war to unfold on the walls of a national park resort? Using this question as a point of departure, we expand further on this history by placing these commissions in dialogue with contemporary Salish and Kootenai artist Corwin Clairmont's multimedia work Indian Country Passage Denied. Thinking across generations and different means of traversing space, we consider what it means to be considered a guest on stolen land and how Indigenous artists articulate the terms of hospitality, history, or lack thereof. In doing so, we find a more nuanced history of the parks unfolds, shared and complex. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Art Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Art Journal holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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