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  • List of Illustrations  ix
    Acknowledgments  xiii
    Introduction  1
    1. The Word for World and the Word for History Are the Same: Jimmie Durham, the American Indian Movement, and Spatial Thinking  16
    2. Now That We Are Christians We Dance for Ceremony: James Luna, Performing Props, and Sacred Space  61
    3. They Sent Me Way Out in the Foreign Country and Told Me to Forget It: Fred Kabotie, Dance Memories, and the 1932 U.S. Pavilion of the Venice Biennale  94
    4. Dance Is the One Activity That I Know Of When Virtual Strangers Can Embrace: Kay WalkingStick, Creative Kinship, and Art History's Tangled Legs  123
    5. They Advanced to the Portraits of Their Friends and Offered Them Their Hands: Robert Houle, Ojibwa Tableaux Vivants, and Transcultural Materialism  152
    Epilogue: Traveligng with Stones  184
    Notes  197
    Bibliography  249
    Index  283
  • "Art for an Undivided Earth is a landmark in thinking about Native American art and offers a great deal to everyone working on the contribution of indigenous artists to the modernities that coexisted within twentieth-century modern art. An outstanding work." — Terry Smith, author of, One and Five Ideas: On Conceptual Art and Conceptualism

    "Art for an Undivided Earth reframes Native American art history in the twentieth and twenty-first centuries, revising our understanding of modernism and contemporary art. Highlighting Native North American artists as key figures for imagining the global contemporary, Jessica L. Horton demonstrates that the much-celebrated ‘global turn’ has in fact characterized Native North American experience and cultural production since 1492. Based on exhaustive and imaginative research, this book should transform the field and help change the way that Native American artists are understood and taught." — Bill Anthes, author of, Edgar Heap of Birds

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  • Description

    In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.

    About The Author(s)

    Jessica L. Horton is Assistant Professor of Art History at the University of Delaware.
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