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One of the earliest Native American photographers, Richard Throssel (1882-1933) undertook a vast personal effort to photograph the people and places of the Crow Reservation from 1902 to 1911.
The life, work, and inspiration of the acclaimed Native American artist are explored in this beautifully illustrated book. Born and raised on the Crow reservation in southern Montana, Kevin Red Star celebrates the history and culture of the Crow Nation with his artwork. As a visual historian of his people, he explores traditional roots with a contemporary outlook, producing a body of work that is revered by galleries, museums, and collectors. Author Daniel Gibson and photographer Kitty Leaken showcase the talents of Red Star in this collection of artwork while also exploring his life and artistic development. Red Star’s friends and family, his childhood on the reservation, and his time at the Institute of American Indian Arts and San Francisco Art Institute all feed into his iconoclastic and ever-evolving artwork.
What is American Indian photography? At the turn of the twentieth century, Edward Curtis began creating romantic images of American Indians, and his works—along with pictures by other non-Native photographers—came to define the field. Yet beginning in the second half of the nineteenth century, American Indians themselves started using cameras to record their daily activities and to memorialize tribal members. Through a Native Lens offers a refreshing, new perspective by highlighting the active contributions of North American Indians, both as patrons who commissioned portraits and as photographers who created collections. In this richly illustrated volume, Nicole Dawn Strathman explores how indigenous peoples throughout the United States and Canada appropriated the art of photography and integrated it into their lifeways. The photographs she analyzes date to the first one hundred years of the medium, between 1840 and 1940. To account for Native activity both in front of and behind the camera, the author divides her survey into two parts. Part I focuses on Native participants, including such public figures as Sarah Winnemucca and Red Cloud, who fashioned themselves in deliberate ways for their portraits. Part II examines Native professional, semiprofessional, and amateur photographers. Drawing from tribal and state archives, libraries, museums, and individual collections, Through a Native Lens features photographs—including some never before published—that range from formal portraits to casual snapshots. The images represent multiple tribal communities across Native North America, including the Inland Tlingit, Northern Paiute, and Kiowa. Moving beyond studies of Native Americans as photographic subjects, this groundbreaking book demonstrates how indigenous peoples took control of their own images and distinguished themselves as pioneers of photography.
The oral historian of the Crow tribe collects stories which introduce the world of the Crow Indians, including its legends, humorous tales, history, and everday life.
A memoir expresses the poverty, personal hardships, and prejudice of the author's life growing up as a second generation Crow Indian on a reservation, and the bond she formed with her grandmother, a medicine woman.
"This rare collection of photographs was lost for almost 100 years. These photographs, taken by William Stinson Soule, a young Civil War veteran, at Fort Sill between 1869 and 1874 are published here for the first time. Soule's important photographs include many different tribes: Kiowas, Apaches, Kiowa-Apaches, Cheyenne, Wichitas, Caddos, Arapahoes, and Comanches. Included among the photographs are such Chiefs and warriors as Satanta, Setank, Kicking Bird, Big Tree, Lone Wolf, Stumbling Bear, Little Raven, Mow-way, and many others. The accompanying text gives a biography of Soule; offers cultural insight into the various tribes photographed; and describes each photograph and gives a biography of each Indian photographed"--Bookseller's description.
In As We See It, Suzanne Newman Fricke invites readers to explore the work and careers of ten contemporary Native American photographers: Jamison Banks, Anna Hoover, Tom Jones, Larry McNeil, Shelley Niro, Wendy Red Star, Beverly Singer, Matika Wilber, William Wilson, and Tiffiney Yazzie. Inspired by As We See It, an exhibition of these artists’ work cocurated by Fricke in 2015, the book showcases the extraordinary achievements of these groundbreaking photographers. As We See It presents dialogues in which the artists share their unique perspectives about the history and current state of photography. Each chapter includes an overview of the photographer’s career as well as examples of the artist’s work. For added context, Fricke includes an introduction, a preface that explores the original exhibition of the same name, and an essay that challenges the ghost of Edward S. Curtis, whose work serves as a counterpoint to the photography of contemporary Native Americans. The text is designed to be read as a whole or in sections for anyone teaching Native American photography. As We See It is an invaluable addition to the library of anyone interested in Native American photography and will be the key source for teachers, researchers, and lovers of photography for years to come.