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People of the Big Voice
People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short ye...
As We See It
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...
Travels with Frances Densmore
Over the first half of the twentieth century, scientist and scholar Frances Densmore (1867-1957) visited thirty-five Native American tribes, recorded more than twenty-five hundred songs, amassed hundreds of artifacts and Native-crafted objects, and transcribed information about Native cultures. Her visits to indigenous groups included meetings with the Ojibwes, Lakotas, Dakotas, Northern Utes, Ho-chunks, Seminoles, and Makahs. A "New Woman" and a self-trained anthropologist, she not only influenced government attitudes toward indigenous cultures but also helped mold the field of anthropology. Densmore remains an intriguing historical figure. Although researchers use her vast collections at t...
Citizens of a Stolen Land
This concise and revealing history reconsiders the Civil War era by centering one Native American tribe's encounter with citizenship. In 1837, eleven years before Wisconsin's admission as a state, representatives of the Ho-Chunk people yielded under immense duress and signed a treaty that ceded their remaining ancestral lands to the U.S. government. Over the four decades that followed, as "free soil" settlement repeatedly demanded their further expulsion, many Ho-Chunk people lived under the U.S. government's policies of "civilization," allotment, and citizenship. Others lived as outlaws, evading military campaigns to expel them and adapting their ways of life to new circumstances. After the...
Indigenuity
For hundreds of years, American artisanship and American authorship were entangled practices rather than distinct disciplines. Books, like other objects, were multisensory items all North American communities and cultures, including Native and settler colonial ones, regularly made and used. All cultures and communities narrated and documented their histories and imaginations through a variety of media. All created objects for domestic, sacred, curative, and collective purposes. In this innovative work at the intersection of Indigenous studies, literary studies, book history, and material culture studies, Caroline Wigginton tells a story of the interweavings of Native craftwork and American l...
Skunk Hill
Rising above the countryside of Wood County, Wisconsin, Powers Bluff is a large outcrop of quartzite rock that resisted the glaciers that flattened the surrounding countryside. It is an appropriate symbol for the Native people who once lived on its slopes, quietly resisting social forces that would have crushed and eroded their culture. A large band of Potawatomi, many returnees from the Kansas Prairie Band Potawatomi reservation, established the village of Tah-qua-kik or Skunk Hill in 1905 on the 300-foot-high bluff, up against the oddly shaped rocks that topped the hill and protected the community from the cold winter winds. In Skunk Hill, archeologist Robert A. Birmingham traces the large...
Standing Up to Colonial Power
Standing Up to Colonial Power focuses on the lives, activism, and intellectual contributions of Henry Cloud (1884-1950), a Ho-Chunk, and Elizabeth Bender Cloud (1887-1965), an Ojibwe, both of whom grew up amid settler colonialism that attempted to break their connection to Native land, treaty rights, and tribal identities. Mastering ways of behaving and speaking in different social settings and to divergent audiences, including other Natives, white missionaries, and Bureau of Indian Affairs officials, Elizabeth and Henry relied on flexible and fluid notions of gender, identity, culture, community, and belonging as they traveled Indian Country and within white environments to fight for Native...
Objects of Survivance
Between 1893 and 1903, Jesse H. Bratley worked in Indian schools across five reservations in the American West. As a teacher Bratley was charged with forcibly assimilating Native Americans through education. Although tasked with eradicating their culture, Bratley became entranced by it—collecting artifacts and taking glass plate photographs to document the Native America he encountered. Today, the Denver Museum of Nature & Science’s Jesse H. Bratley Collection consists of nearly 500 photographs and 1,000 pottery and basketry pieces, beadwork, weapons, toys, musical instruments, and other objects traced to the S’Klallam, Lakota Sioux, Cheyenne, Arapaho, Havasupai, Hopi, and Seminole peo...
Visualizing Genocide
Visualizing Genocide examines how creative arts and memory institutions selectively commemorate or often outright ignore stark histories of colonialism. The essays confront outdated narratives and institutional methods by investigating contemporary artistic and scholarly interventions documenting settler colonialisms including land theft, incarceration, intergenerational trauma, and genocide. Interdisciplinary approaches, including oral histories, exhibition practices, artistic critiques, archival investigations, and public arts, are among the many decolonizing methods incorporated in contemporary curatorial practices. Rather than dwelling simply in celebratory appraisals of Indigenous survi...
