Indian Art is American Art

A recent piece in the New York Times described a large collection of “modern” and American Indian art being donated to the Metropolitan Museum of Art in New York City. The headline is telling: “Native American Treasures Head to the Met, This Time as American Art.”

Alvin Josephy talking in my ear again: “Indians don’t have biography or history; they have anthropology and archeology.” To that we can add “art.”

Peter Rindisbacher Circa 1822

Alvin scoured the country for art by and related to Indians, finding, for the first Indian book he edited, The American Heritage Book of Indians, the earliest European depictions of Native Americans. He wrote a book about Peter Rindisbacher, the European artist who introduced the world to Plains Indians in the early 1800s with drawings and paintings that were taken back to Europe by Hudson’s Bay people, engraved and sold across the continent. In 500 Nations, Josephy easily mixed the art of John White, Read The Article

Fear of Indians


I keep trying to write about “assimilation,” because I know that Alvin considered it—the ways in which the white power structure has “zigzagged,” as he put it, with policies and actions aimed at “making Indians stop being Indians and turn themselves into Whites”—crucial to understanding the history of America. But I keep finding gems of understanding that seem to precede the concepts of assimilation, and extermination for that matter.

And this week it is fear, and not physical fear of Indians, though I am sure that those scrawny Dutchmen and Englishmen who came ashore on the Atlantic  Coast  in the early 1600s had some of that kind of fear and trepidation, but a deeper kind of fear. Alvin described it in a speech on “Fisheries and Native American Rights” given at the University of Michigan in April of 1979, and later published in The Indian Historian, Vol. 12, No. 2,
Read The Article