At the same time, the volume reveals how indigenous and immigrant communities of the early twentieth century traversed cultural, social, and racial divides. This book is a story of concurrences. For a specific period, immigrants such as Jacobson and disenfranchised indigenous people such as Mopope transformed Oklahoma into the center of exciting new developments in Indian art, which quickly spread to other parts of the United States and to Europe.
Jacobson and Mopope came from radically different worlds, and were on unequal footing in terms of power and equality, but they both experienced, according to the author, forms of diaspora displacement. Seeking to root themselves anew in Oklahoma, the dispossessed artists fashioned new mediums of compelling and original art. Although their goals were compatible, Jacobson's and Mopope's subjects and styles diverged. Jacobson painted landscapes of the West, following a tradition of painting nature "as it was created," uninfluenced by human activity.
Whereas other books have emphasized the promotion of Indian art by Euro-Americans, this book is the first to focus on the agency of the Kiowa artists within the context of their collaboration with Jacobson.
To capture the magnitude of Mopope and Jacobson's mutual accomplishments, the author draws from unique primary material related to the Kiowa artists, along with Swedish, American, and Kiowa sources. The volume is further enhanced by full-color reproductions of the artists' works and rare historical photographs. This richly illustrated volume contains seven chapters that discuss historical conditions, geographic locations, language, reindeer herding, film, modern art and politics, demonstrating that Sami life and history is present from early archaeological findings and medieval sagas to contemporary politics and art and sub-culture splatter movies.
In Archaeology and the Postcolonial Critique. Oslo : Novus Forlag. Samefolket a Samefolket 96 6—7. Samefolket b Samefolket 96 8—9.
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