Storytellers

Autorentext

JR Henneman is Director and Curator of the Petrie Institute of Western American Art at the Denver Art Museum Emily C. Burns is Professor of Art History, Charles Marion Russell Memorial Chair, and Director of the Charles M. Russell Center for the Study of Art of the American West in the School of Visual Arts at the University of Oklahoma. She is author or coeditor of several books, including Transnational Frontiers: The American West in France, Mapping Impressionist Painting in Transnational Contexts, The Routledge Companion to Art and the Formation of Empire, and The Routledge Companion to Art and Challenges to Empire.

Klappentext

Storytellers: The Blackfeet Nation and Charles M. Russell honors the reciprocity between Russell and the Indigenous people on whose land he lived and worked. It celebrates Nitsitapii (Blackfoot Confederacy), and specifically Amskaapii Pikanii (Blackfeet Nation), art and culture. By presenting Nitsitapii objects from the Denver Art Museum's collection alongside Russell's paintings and sculptures, it offers new insight into this largely unexamined intercultural exchange.

This is the first known exhibition that gives Indigenous art and culture equal prominence alongside Russell's paintings and sculptures. As such, it is one step toward a broader assessment and intentional Indigenization of Russell scholarship.

This project seeks to answer the questions: What can we learn about Russell's life and work when we broaden our lens to include Indigenous perspectives? And, how is our understanding of the art, history, and cultures of the Northern Great Plains and Rocky Mountain region enhanced when we follow Russell's example to be curious and make space for conversation and storytelling?

In Storytellers, Emily C. Burns moves deeper into a consideration of how Amskaapii Pikanii art, people, and culture profoundly influenced Russell's practice and artistic vision. Through an analysis that shifts our perspective toward Indigenous epistemologies, Burns demonstrates the ongoing agency of Nitsitapii arts and people both outside of and within Russell's artworks.

Amskaapii Pikanii artist Ni-tah-mah-kwi-i's reminiscences present insights into the challenging early Reservation Era. While Ni-tah-mah-kwi-i (also known as Lone Wolf) and Russell had much in common—they knew each other, spent time working the range, and competed in the same fine art market—Ni-tah-mah-kwi-i's story reveals aspects of Indigenous life that rarely show up in Russell's art.

Finally, content contributed by Amskaapii Pikanii advisors, in addition to content from sources available in the bibliography, accompanies illustrations of works in the exhibition.