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I Stand in the Center of the Good: Interviews with Contemporary Native American Artists
  
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I Stand in the Center of the Good: Interviews with Contemporary Native American Artists (Hardcover)

de Lawrence Abbott (Author)
2.0étoiles sur 5  Voir tous les commentaires (1 évaluation de client)
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What is Indian art? There have been many attempts to define it, but the so-called Santa Fe style of the 1930s - placid, two-dimensional depictions of traditional scenes - set the standard by which subsequent art by Native Americans would be judged. Art that radically challenged the stereotype - the work of Joe Herrera, Fritz Scholder, and T. C. Cannon, for example - met with resistance; questions were raised about its authenticity as Indian art.Today's Indian art has resoundingly overturned old preconceptions: here are cartoon figures in throbbing neon colors, 'decorated' grocery bags, messages to America on the Spectacolor billboard in "Times Square", delicate abstractions and cubist images, work that ranges from monotype and photography to mixed media and clay, from humor and biting commentary to quiet introspection. "I Stand in the Center of Good", the first book of its kind, offers a forum for seventeen contemporary Native American artists to speak about the development of their art, their creative processes, how they define their art, and how it relates to their Indianness.The interviews are handsomely illustrated with works by the artists, who include Rick Glazer-Danay, Shan Goshorn, Hachivi Edgar Heap of Birds, Rick Hill, G. Peter Jemison, Michael Kabotie, Frank LaPena, Carm Little Turtle, Linda Lomahaftewa, George Longfish, Mario Martinez, Nora Naranjo-Morse, Jaune Quick-to-See Smith, Susan Stewart, Frank Tuttle, Kay WalkingStick, and Emmi Whitehorse. Lawrence Abbott teaches English and Humanities at the Community College of Vermont in Middlebury. He has written for "Studies in American Indian Literatures", "American Indian Quarterly", and "Akewe:kon Journal".

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2.0étoiles sur 5 I is for Indian, A is for Art, Sep 25 1998
Par azindn (Arizona, USA) - Voir tous mes commentaires
Lawrence Abbott's I Stand in the Center of the Good is described on the book flyleaf as a forum of interviews that aims to addrss "what is Indian art?" Through the words of American Indian artists who challenge the public's conceptions of contemporary Native American art, Abbott's interviews attempt to cover several topics -- with mixed results. This collection of brief interviews dates from 1991-1992 when most of the artists were preparing works for Quincentennary exhibitions. Abbott has included interviews with seventeen personalities who have established themselves over the last twenty-five to thirty years as primary forces in the Native art scene; but except for Canadian-born George Longfish, the omission of Canada's First Nations artists is a serious problem to any book that purports to address contemporary Indian arts. Most members of this group have served as spokespersons for thematic Indian art since the early -1970s. A second serious problem is the absence of artists such as James Luna, Gerald McMasters, and Carl Beam who should not be omitted from any general survey of contemporary Indian art. I wished the author had broadened the range of artists to include the "contemporary-traditionalists," -- those artists whose work is a direct link to older tribal based art traditions. Disappointed, I wondered if the editor inadvertently narrowed his list of artists too closely, losing a clear perspective on the variety and breadth of Indian arts produced today. One problem arising from a limited view point is the mistaken notion that American Indian "Fine Arts" exists as a singular category. The idea originated from older concepts surrounding Euro-Western art traditions and is limited to artists working in easel painting, sculpture, and graphic arts. I wished the editor had pursued the point of art training of the artists selected. The misperception persists that Native American artists create from an untrained, instinctual base articulated by the cult of the artists. Artists represented in Abbott's collection have clearly benefited from formal western art education and from taining in prestigious arts academies and university art programs in this country, England and Italy. A closer examination of this common ground could be useful to consideration of their art. Abbott's intention to provide a forum for the artist's voice is neither new nor novel. The time has come for Native American artists to take a serious, critical approach to other germane issues. Have ideological theme museums, galleries, and patrons who have continued to define Native arts as qualifiers of difference effectively manipulated development of the arts? And, what of Native American artists who perceptively see advantages to maintaining the idea of "otherness" as profitable? Abbott skims perplexing, complex and politically charged issues that have merged into the study of Indian arts. This book is another well-intentioned, but non-critical book for those interested in the field of Indian art making. it is a general reader to be catalogued under 'I' for Indian, not 'A' for art.
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