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Jessica L. Horton explores how the artists of the American Indian Movement (AIM) generation remapped the spatial, temporal, and material coordinates of modernity by placing colonialism's displacement of indigenous people, objects, and worldviews at the center of their work.
List of contents
List of Illustrations ix
Acknowledgments xiii
Introduction 1
1. The Word for World and the Word for History Are the Same: Jimmie Durham, the American Indian Movement, and Spatial Thinking 16
2. Now That We Are Christians We Dance for Ceremony: James Luna, Performing Props, and Sacred Space 61
3. They Sent Me Way Out in the Foreign Country and Told Me to Forget It: Fred Kabotie, Dance Memories, and the 1932 U.S. Pavilion of the Venice Biennale 94
4. Dance Is the One Activity That I Know Of When Virtual Strangers Can Embrace: Kay WalkingStick, Creative Kinship, and Art History's Tangled Legs 123
5. They Advanced to the Portraits of Their Friends and Offered Them Their Hands: Robert Houle, Ojibwa Tableaux Vivants, and Transcultural Materialism 152
Epilogue: Traveligng with Stones 184
Notes 197
Bibliography 249
Index 283
About the author
Jessica L. Horton
Summary
Jessica L. Horton explores how the artists of the American Indian Movement (AIM) generation remapped the spatial, temporal, and material coordinates of modernity by placing colonialism's displacement of indigenous people, objects, and worldviews at the center of their work.
