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  • Multiple expressions of sovereignty beyond a narrow legal interpretation are discussed through the artwork of contemporary Iroquois artists, G. Peter Jemison (Seneca), Alan Michelson (Mohawk), Samuel Thomas (Cayuga), and Marie Watt (Seneca). Michelson's installation at the Massena homeland security border checkpoint between the United States, Canada, and the Mohawk Nation, titled The Third Bank of the River, draws on the Guswentah or Two Row Wampum underscoring the problematic yet ongoing assertion of Haudenosaunee sovereignty. A link is made between the work of these artists and the 2008 Courtney Hunt film, Frozen River, based on the cultural and political understanding of the Two Row Wampum. The Guswentah is discussed as a demonstration of sovereignty and is historicized through Cayuga chief Deskaheh's call for the recognition of Haudenosaunee sovereignty at the League of Nations in Geneva, in 1923, John Mohawk's 1978 Basic Call to Consciousness, and more recently, Taiaiake Alfred's 1999 Peace, Power, Righteousness. These artists demonstrate the critical role they play in the ongoing formation of sovereignty as a visual or aesthetic issue in conjunction with its historic legal positioning.

  • This essay considers the intersectionality between the field of art history focused on the subject category of Native American or Indigenous art and Indigenous Studies. Methodological gaps in the field of art history are discussed through the canonical genre of landscape art with a comparative reference to key exhibitions; Land Spirit Power: First Nations at the National Gallery of Canada, (1992), The West As America: Reinterpreting Images of the Frontier, 1820-1920, (1991), Submuloc Show/Columbus Wohs (1992), Our Land/Ourselves: Contemporary Native American Landscape (1991) and Picturing the Americas: Landscape Painting from Tierra del Fuego to the Artic (2015). The aestheticization of the colonization of the Americas as represented in the genre of landscape art is interrogated as a form of historical violence that needs to be decolonized within the field of art history.

Dernière mise à jour depuis la base de données : 19/07/2025 13:00 (EDT)