The Necessity of Jimmie Durham's Jokes

Shiff, Richard

doi:10.1080/00043249.1992.10791587

Cited by 9 publications

(4 citation statements)

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“…The IACA defines an Indian, Indian tribe, and Indian artisan and, thus, makes political “an ethnic activity—the self-identification of an artist in the promotion and sale of his or her work” (Sheffield, 1997: 4). The act has been highly criticized for its construction of an artistic authenticity grounded in racial and political definitions of identity (see Barker, 2003; Cembalest, 1991; Shiff, 1992; WalkingStick, 1991). However, it has also been called a “paper tiger” because of its lack of enforceability (Duboff, 1992: 44).…”

Section: The Field Of Indian Art and The Negative Relationshipmentioning

confidence: 99%

Engendering status and value in the powwow art market

Gagnon

2013

Cultural Dynamics

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This article examines the relationship between people and objects in the powwow arts and crafts market. Over the past century, the field of Indian art developed a system of valuation that employs the "negative relationship" to create a hierarchy of people, objects, and markets. Central to this system are regimes of value associated with art and commodity. I argue that the presence of the mass-produced makes it possible for artisan-vendors to employ the negative relationship to define, value, and make sustainable the artistic in the powwow market context. Ultimately, this marks artisan-vendors and mass-produced vendors as position-takers within the Indian art field.

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Section: The Field Of Indian Art and The Negative Relationshipmentioning

confidence: 99%

Engendering status and value in the powwow art market

Gagnon

2013

Cultural Dynamics

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“…Consequently, today, there are a large number of Cherokee people who are unable to 'prove' that they are Indian. See Shiff (1992). Shiff quotes from Walkingstick, 'Indian Law', Artforum 30, November 1991: 20-1.…”

Section: Notesmentioning

confidence: 99%

Ceci n’est pas Jimmie Durham

Turney¹

1999

Critique of Anthropology

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This article examines the idea that there can (or cannot) be an authentic cultural identity. Debates about identity and authenticity are particularly prevalent in North America where the idea of authentic (and inauthentic) Native identities is very strong, both ‘inside’ and ‘outside’ Native communities. This is particularly so in terms of debates about treaty rights and resources wherein the issue of authenticity can be used as a benchmark for recognizing (or not recognizing) the claims of an individual, group or community. These questions will be explored by looking at how they are approached by the artist and writer Jimmie Durham, within the context of a piece of legislation known as the Indian Arts and Crafts Act (PL 101-644). This legislation and Durham’s responses, provide a useful viewpoint in terms of contributing to the ongoing debates about authenticity, identity and the politics of representation. I will attempt to demonstrate that these issues, although grounded in the ‘art world’, draw many parallels with the cultural, social, economic and political control and marginalization of North America’s indigenous peoples.

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“…Making distinctions between what is modern and what is not, the museum thus implied that contemporary American Indian artists were only in the forefront of their own ethnicity. Indian artist Jimmie Durham escaped such racial typecasting and crossed-over into the contemporary exhibit with a biting sculptural piece from 1992 (also untitled), but only because he has adamantly refused to subscribe to the authenticity of tribal affiliation as implemented in the 1990 Indian Arts and Crafts Act (Shiff 1992, Fine 1994.…”

Section: Displaying Cultural Differencementioning

confidence: 99%

Displaying Cultural Difference: The North American Art Collections at the Denver Art Museum

Doss

1996

Museum Anthropology

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The Necessity of Jimmie Durham's Jokes

Cited by 9 publications

References 0 publications

Engendering status and value in the powwow art market

Engendering status and value in the powwow art market

Ceci n’est pas Jimmie Durham

Displaying Cultural Difference: The North American Art Collections at the Denver Art Museum

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