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Review of H. Beaver (ed.),
AMERICAN CRITICAL ESSAYS; W. and H. Burnett, FICTION OF A GENERATION; THE CHICAGO REVIEW ANTHOLOGY. THE LONDON MAGAZINE, 7, 6 (June 1960), pp. 66-9.

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Modernism in Greece?: Essays on the Critical and Literary Margins of a ..

Critical Essays on American Postmodernism

Native Modernism: The Art of George Morrison and Allan Houser showcases magnificent paintings, drawings, and sculptures by two highly acclaimed artists. George Morrison (Grand Portage Band of Chippewa, 1919–2000) and Allan Houser (Warm Springs Chiricahua Apache, 1914–1994) shattered expectations for Native art and paved the way for successive generations to experiment with a wide array of styles and techniques. In this ground-breaking, beautifully illustrated book, distinguished Native American writers and scholars Truman T. Lowe (Ho-Chunk), Gerald Vizenor (Chippewa), N. Scott Momaday (Kiowa), and Gail Tremblay (Onondaga/Mi´qmaq) provide a fascinating exploration of the two men’s work in the context of contemporary art, Native American art history, and cultural identity.

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The enthralling scope of Native American dance—from the Fancy dancers of the powwow circuit and the traditional keepers of sacred Indian ceremonies to the contemporary flourishes of modern Indian choreographers—is explored in this enlightening collection of essays by leading Native and non-Native scholars and practitioners of dance in the Indian community. A gathering of prominent voices, all marked by their passion for the dance, along with a wealth of illustrations, gives Native American Dance: Ceremonies and Social Traditions a creative spirit grounded in authoritative scholarship.

Bloomington: Indiana UP, 1977 - collection of essays on various modern views and approaches to fictional critical theory (PN 3331 .T65)

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Louis witnessed the beginning of the shift in anthropological research from nineteenth-century evolutionary racial models to the cultural relativist paradigm that is now a cornerstone of modern American anthropology.

Digitized Journals - The Modernist Journals Project

Formalism, though, could also be turned to the advantage of the progressives who were able to use it in defense of modernism, abstraction in particular, which has been especially open to criticism.

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Essays on Native Modernism: Complexity and Contradiction in American Indian Art, which grew out of a symposium held by NMAI in May 2005, explores the legacies of George Morrison (Grand Portage Band of Chippewa, 1919–2000) and Allan Houser (Warm Springs Chiricahua Apache, 1914–1994)—two giants of 20th-century art—as well as investigates the basis of a Native modernism by eliciting a broad discussion about the critical perspectives and practices of Native artists across North America. Also examined is the place of Native modernism in the canon of American art and the currents of influence between them.

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Vision, Space, Desire: Global Perspectives and Cultural Hybridity, which grew out of an international art symposium held by the Smithsonian’s National Museum of the American Indian in December 2005, features a lively exchange of ideas and opens new possibilities in contemporary art practice and engagement. Noted museum professionals, artists, critics, and scholars from around the world explore indigenous artistic and curatorial practices in relation to the ever-changing realities of the contemporary art scene and discuss new strategies to frame the ways Native contemporary artists are regarded in the international art world.

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This catalogue showcases the work of Chippewa artist George Morrison (1919–2000), who was born and raised near the Grand Portage Indian Reservation in Minnesota. Best known for his landscape paintings and wood collages, Morrison employed a variety of media—paint, wood, ink and metal, paper, and canvas—and developed a unique style that combined elements of cubism, surrealism, and abstract expressionism. His artwork typically does not include overt references to his Indian heritage, which stirs debate about what it means to be a Native American artist. This title explores the artist’s identity as a modernist within the broader context of twentieth-century American and Native American art.