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Collecting Haudenosaunee Art from the Modern Era

Native American and Indigenous Studies Program, Syracuse University, Syracuse, NY 13244, USA
Received: 18 October 2019 / Revised: 26 February 2020 / Accepted: 15 March 2020 / Published: 29 April 2020
My essay considers the history of collecting the art of Haudenosaunee (Iroquois) artists in the twentieth century. For decades Native visual and material culture was viewed under the guise of ‘crafts.’ I look back to the work of Lewis Henry Morgan on Haudenosaunee material culture. His writings helped establish a specific notion of Haudenosaunee material culture within the scholarly field of anthropology in the nineteenth century. At that point two-dimensional arts did not play a substantial role in Haudenosaunee visual culture, even though both Tuscarora and Seneca artists had produced drawings and paintings then. I investigate the turn toward collecting two-dimensional Haudenosaunee representational art, where before there was only craft. I locate this turn at the beginning of Franklin Delano Roosevelt’s administration in the 1930s. It was at this point that Seneca anthropologist Arthur C. Parker recruited Native crafts people and painters working in two-dimensional art forms to participate in a Works Progress Administration-sponsored project known as the Seneca Arts Program. Thereafter, museum collectors began purchasing and displaying paintings by the artists: Jesse Cornplanter, Sanford Plummer, and Ernest Smith. I argue that their representation in museum collections opened the door for the contemporary Haudenosaunee to follow. View Full-Text
Keywords: Haudenosaunee; Seneca arts program; crafts; authenticity; cultural specificity Haudenosaunee; Seneca arts program; crafts; authenticity; cultural specificity
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Stevens, S.M. Collecting Haudenosaunee Art from the Modern Era. Arts 2020, 9, 55.

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