Review of Custer on Canvas: Representing Indians, Memory, and Violence in the New West By Norman K. Denzin
This thematic collection exploring Last Stand paintings by white and First Nations artists has three origins. As Denzin notes, it extends his 2008 collection, Searching for Yellowstone: Race, Gender, Family, and Memory in the Postmodern West, also published by Left Coast Press. Both books gather Den...
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| Format: | Text |
| Language: | unknown |
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DigitalCommons@University of Nebraska - Lincoln
2013
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| Online Access: | https://digitalcommons.unl.edu/greatplainsquarterly/2484 https://digitalcommons.unl.edu/context/greatplainsquarterly/article/3484/viewcontent/Rusted.pdf |
| Summary: | This thematic collection exploring Last Stand paintings by white and First Nations artists has three origins. As Denzin notes, it extends his 2008 collection, Searching for Yellowstone: Race, Gender, Family, and Memory in the Postmodern West, also published by Left Coast Press. Both books gather Denzin’s efforts to involve himself reflexively with the West. Spurred by an engagement with a politics of representation, Denzin locates Custer on Canvas in relation to the “performance turn” and its “new writing practices.” A third origin is personal: Denzin’s effort to engage memories that reach from childhood into contemporary, professional encounters. One in particular that provides narrative direction is a question posed by Denzin’s granddaughter viewing two Last Stand paintings at the Whitney Gallery of Western Art in Cody, Wyoming: why do they represent events differently? |
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