Indigenous Art Appropriation

One of the most commonly founded item in the museum were varies kind of basket. There were basket from 1800-20th century. They all came in different shape and size. One basket were from Chitimacha Native American culture found in Louisiana. These baskets are made from local river cane, which is a variety of bamboo. Chitimacha basket colors are red, black, yellow and the natural color of the cane. Another basket were from Lozi culture found at Zambia. This basket were produce from beautiful Makenge tree root. They were used for storing food or personal items. It even stated that basket weaving basket was a more favorable job for the women.

Native American culture was a great influence on newly introduced western art when settlers first came to North America. Not only did Native Americans have their own style of art, sculpture, basket weaving, and other fine arts. Their artistic styles helped influence some European art and gave them a different outlook on not only art itself, but a brand new culture that they have not seen before. This paper will talk about the different styles of Native American art and compare it to European art styles and artist, as well as going into detail about how their culture influenced artistic styles.

Chelsea Vowel's book "The Myth of Progress" (2016), explains that Canada has a long way to go to overcome the harmful and prevalent stereotypes about Indigenous people. The author supports this argument by discussing how the portrayal of Indigenous peoples in Canadian media has hardly changed over the last 200 years. Based on the language and subject matter, it's clear that the intended audience of this piece is Canadians both Indigenous and non-Indigenous.

that serve to contest current stereotypes of Aboriginality as well as create art that is a

Our country of Canada has a dark past. First Nations and Indigenous people in Canada were oppressed to the point where people now refer to what happened to them over 150 years as a cultural genocide. In this essay, I will attempt to explain the media’s coverage on the oppression that Indigenous people have faced, and why media coverage was so rare prior to this year. I will do this by looking in detail at three scholarly articles, five newspaper articles, and a YouTube video.

Native American art is a profoundly expressive culture that has been a way of life for so many Native Americans. Native American art history has advanced over thousands of years and is composed of several idiosyncratic styles from the differentiating cultures of diverse Indian tribes. From Navajo to Hopi, each tribe has a particular history, which consists of many types of Native American arts including beadwork, jewelry, weaving, pottery, carvings, kachinas, masks, totem poles, and more. To truly understand Native American art, we will explore Native American art history, its subjects, and if Native American art has a spiritual connection to it.

History was often written by an elite and privileged few. These people tended to marginalize the many voices of minority groups. As critical thinkers, it is important to analyze the histories of these groups for a better understanding of why “official stories” of Aboriginal people exist in such a way. By critically examining the history of First Nations and White relations in nineteenth century Canada, “Joe the Painter” and “We Must Farm to Enable us to Live” are able to challenge the common misconceptions of Aboriginals.

Lorraine O’Gradys’ unintentionally historic performances, seemingly elevate everyday life to the status of art. In her ‘exhibit’ at the Studio Museum, her work is represented through photographs, in ‘Art is…’. Thirty years ago, O’Grady presented ‘Art is’ in the form of a float in the African American Day Parade right here in Harlem. Performers pranced with empty frames, metaphorically capturing fleeting pictures of the people and places that surrounded the route of the parade. By doing so, the trappings of high art were brought out of the museum, into the street, which promotes a new way people might begin to recognize this new art form in the celebrations of every day life. The

The Canadian North, a rugged landscape often glamorized as a land of adventure and promise, hides a dark history. From the early day’s of the gold rush, when the land was first colonised, to the attempted cultural assimilation of the indigenous peoples through residential schools, the people native to the area are still in a struggle of identity and culture, and the resulting effects such as high suicide rates, poverty and drug abuse,. It is through this lens that I will examine the work of Ted Harrison, a prolific English artist who spent the majority of his life living in the Yukon and painting the contemporary society that he saw around him. There is no doubt that his work was highly intertwined with the indigenous culture, and as such his identity brings up questions regarding the appropriation of native american culture. To that end, this essay will look at the context of his biography, the subject matter of his work, and compare it to contemporary Native American artists in order to clarify the nature of his art.

Discrimination of Aboriginal culture and way of life has also been a pressing issue during the years between 1945 and 2010. Canada, as nation that promotes equality, has done a terrible job demonstrating it. False stereotypes and perceptions of Native American people are very common in society today and back then. It is most common in the media because it is seen by almost everyone and has a considerable influence on peoples perspective on an idea, whether their aboriginal or not. Media reaches everywhere, from movies to the new and from advertisement to literature, it gets coverage. In the media aboriginals only ever get minor roles with a lack of identity in their characters, but when they are recognized, they are seen as

The traditional aboriginal art depicts places, events and dreaming ancestors, also incorporating actual events, whereas the temporary was only for initiation ceremonies and funerals. The aboriginal art opens up ways of communicating the close relationship between the ancestral beings and the laws, views, values, ceremonies and obligations of the people. They enable understanding and knowledge within a community and also partcially the outside world.

Aboriginal art has many inspiring aspects such as the link that it has to the past of Aboriginal people, kinship the dreaming, land and reconciliation. Charlie Colbung is the artist behind a large beautiful acrylic painting exhibited in the Plantagenet community resource centre, in Mount Barker Western Australia. Colbung’s painting is called ‘Past to Present’ and represents the journey to reconciliation of both Indigenous and non-Indigenous people. Full of depth, texture, colour and numerous artistic elements to entice audiences to engage and analyse his lovely art work as well as critically reflect on the art and the meaning behind the painting. Charlie Colbungs painting Past to Present is a beautiful example of Aboriginal art work.

The READing outlined the role of movement and myth as a part of Indigenous histories yet with the arrival of settlers to Canada their colonial notions tried to replace and erase many of these worldviews and understanding. With the colonial attempt to assimilate and destroy Indigenous cultures in favor of European Christianity, Indigenous practices, understanding and tradition were band or lost. As seen through the banning of Potlaches and PowWow celebration, ritual and spiritual practises, destruction of land and the removal of children from communities and placing them in harmful residential schools stripping them of their languages and cultures. There are many, particularly due to their placement in residential schools that have lost the traditions and practices of their families and communities. The loss of these practises within art due to colonialization is a part of the reason why there large gape within Indigenous art histories, as many practise were banned, or not given the chance to learn from their communities. There are differences to pre- and early contact art as many could no longer practise or no longer knew how to make these traditional forms. It is this loss of information within nations that cultural continuance look towards, it is a re-learning of

I fell in love with methodologies of art history. I felt empowered in that, through my own interpretations, I could attach words and meaning to objects. My study of art history reached a turning point when, in 2012, I took a class entitled Identity in a Post-Identity Art World: Gender, Race, Sexuality, and Trans/Nationality, 1990 to the Present. The course endowed me with another lens with which to examine works and, more importantly, shed light on representations of marginalized identities. As a result, I was introduced to the writings of Judith Butler and Simone de Beauvoir, both seminal theorists who inspired my own analyses. I enjoyed every minute of conducting research and forming arguments to support my claims. Ultimately I was interested in developing my understanding of issues in contemporary art further and sought to accomplish this by engaging with a larger

The artist’s job is to be a witness to their time and location in history. They record and reflect on events and themes that have occurred in their personal life and society around them. Gordon Bennett creates artworks exploring Australian colonialism and the impact it has had on Aboriginal History. Bennett’s work bares witness to the disregard for Aboriginal people in history, in his time and today. Bennet grew up unaware of his indigenous heritage.