By Scott B. Vickers
Problems with id and authenticity current perennial demanding situations to either local american citizens and critics in their artwork. Vickers examines the lengthy heritage of dehumanizing depictions of local american citizens whereas discussing such purveyors of stereotypes because the Puritans, the Bureau of Indian Affairs, and Hollywood. those stereotypes abetted a countrywide coverage robbing Indians in their cultural id. As a distinction to those, he examines the paintings of white authors and artists akin to Helen Hunt Jackson, Oliver los angeles Farge, the Taos Society of Artists, and Frank Waters, who created extra archetypal fictional Indian characters. within the moment half the booklet, Vickers explores the paintings of Indian artists and writers, comparable to Edgar Heap of Birds, Jaune Quick-to-See Smith, Linda Hogan, and Sherman Alexie who craft humanizing new pictures of authenticity and legitimacy, bridging the distance among stereotype and archetype. this is often a necessary publication for all readers with an curiosity within the tragic background of Indian-white clash. "Vickers is likely one of the few to contemplate artists and writers in terms of one another. He deals a refreshingly commonsensical approach."-Herta Wong, college of California Berkley
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23 The bureau's policy, then, was one of depriving Indians of their sacred religious beliefs and practices while at the same time replacing them with Christian ones. The historical effect of missionary work among American Indians is highly ambiguous. As with most things human, there were good and bad servants among both the BIA and the evangelical communities. While Indian communities were often met with censure, open hostility, and a pervasive greed, some were also welcomed into the missionizing project with friendly and compassionate contact.
Operating, at first and for a long while to come, under the manifestly paternal attitude that ''Indianslike childrenoften did not know what was best for themselves," the commissioners of the BIA became both the spokesmen for the national conscience regarding the treatment of Indians and also the designers of a racial ideology with which to justify the westward expansion of Manifest Destiny, abetted in the 1820s and 1830s by John Marshall, first chief justice of the Supreme Court. 1 Their official proclamations and philosophical positions on the nature of the Indian reflect the prevailing notions of Indianness, Page 16 and thus form a linguistic distillation in which we can sense the careful construction and perpetuation of Indian stereotypes.
This is a book about identity, which cannot exist in a political vacuum or without economic viability. It is also a book about history, which is always about politics and state-certified religion. The history of images by and about Indians is one derived from the imaginative insinuations of several centuries of conquest and colonialism; but images about Indians have traditionally precluded those by Indians, and have largely been written by the hand of the conqueror. In the Americas, the very existence of "alien races" of indigenous peoples provided a hoard of images that both beguiled and bedeviled the conquering imagination.