National Museum of American Art

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The art of Indigenous Americans and American art history: a century of exhibitions

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Vietnamese 1. Show reviews that mention. All reviews patent office covered courtyard great collection presidential portraits civil war on display beautiful building across the street national mall saam luce bierstadt atrium sculptures galleries installation americans. Selected filters. Updating list Reviewed 2 weeks ago amazing that a resource like this is free to all. Date of experience: August Thank you for sharing! Reviewed 2 weeks ago Very entertaining and informative. Date of experience: September This narrative is only beginning to be written.

The author was silent on the topic of Indigenous art as part of American art history. Works by American Indian painters were eagerly collected. With the rise of Abstract Expressionism, and the glorification of high modernism, we succumbed to a severe case of historical amnesia concerning Native arts and artists, and had to learn this history all over again.

Her discussion of the complexities of settler colonialism and Indigenous contestation provides a useful underpinning to my essay. Berlo ed.

Notably, the Whitney no longer owns Basket Dance and has lost all records pertaining to it — a perfect example of our national amnesia regarding Native art histories. Cannon , Adelyn Breeskin ed.

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Penney ed. Brody ed. Of the museums that reported, zero percent of professional staff i. Yohe ed.


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Louis, forthcoming. The Minimalist Dan Flavin used his primary medium, fluorescent light, to create visual ambushes. From a World War II medical manual on battlefield injury he clipped a small, close-up photograph of a soldier whose lower face has been blown away gunfire. Hypnotically repellent, the picture prompts speculation as to the effect it might have had if enlarged to poster size and displayed at antiwar protests. And babies?

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Its terrible image — an army photograph of slaughtered Vietnamese women and children lying dead in a ditch at My Lai — had been revealed to the American public just a year earlier. The Coalition never claimed that the poster as art. After scattering mimeographed fliers around the space, the artist-performers spattered themselves with cow blood, assaulted each other, and fell to the floor as if convulsed with pain. Decolonize This Place is in the process of leading a series of similar protests against a current Whitney trustee, Warren B.

Kanders, whose company, Safariland, manufactures tear gas. Theatrical too, but in a very different way, was a performance by the Chicano collective Asco. Their piece took the form of a the Christian passion play, with Jesus carrying a cross through the streets of a city, but with significant updates. The streets were in a hardscrabble Mexican-American neighborhood in Los Angeles. And their presence moves the exhibition beyond a focus on a stand-alone peace movement and links it to much older civil rights and anti-colonialist struggles.

All but left out of the picture, though, are Asian-Americans. And this makes the separate exhibition of document-intensive work by the Vietnamese-born American artist Tiffany Chung crucial. Indeed, if Ms. Chung had presented only one component of her complex show, a set of video interviews with an older generation of Vietnam refugees to the United States, that would by itself have been an invaluable contribution. Each interview encapsulates a lived narrative shaped by the effects of a war — in Vietnam referred to as the American War — which killed millions of people and inalterably changed a culture.

Some of the speakers are tense with anger; others half mute with grief. Even the most neutral narratives are laced with laments, resentments and regrets. Here you see the personal and political meet, which is extremely moving.

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