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    Indian Art As Dialogue: The Tricky Transgressions of Bob Haozous

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    Author
    Morris, Traci L.
    Issue Date
    2005
    Keywords
    Native American Studies
    American Indian Studies
    Contemporary American Indian Art
    Bob Haozous
    Contemporary Native American Art
    American Indian Studies
    Cultural Studies
    Advisor
    Babcock, Barbara A.
    Committee Chair
    Babcock, Barbara A.
    
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    Publisher
    The University of Arizona.
    Rights
    Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
    Abstract
    One of the most compelling contemporary Native artists whose work challenges assumptions about Native art is Bob Haozous, who has been creating socially conscious art since 1971. He is known for his monumental steel structures; simplified visual language, controversial subject matter, and ironic humor that engages and sometimes enrages the viewer. Haozous faults contemporary American Indian art as a commodity for the dominant consumer culture, stating, "Indian artists are just glorified interior decorators." This statement reflects the market norm that Native art must embody meaningless stereotypes of Indian culture and must function in the art and culture system in order to be commercially viable.Haozous's work challenges these assumptions about Native art and, for the most part, operates outside of this system. Most of Haozous's work offers the viewer a cultural critique, one that some might consider ideologically dangerous: dangerous because it questions the status quo, dangerous because it exposes the dominant culture from the point of view of the margin, and dangerous because it is in a permanent state of ambiguity, perpetually liminal. Often his work demonstrates borders, borderlands, or liminal places, both ideological borders and physical borders. The emotional affects of Haozous's art on the viewer range from discomfort to anger, from indifference to infuriated. Given the fact that much of his work is public art, it is broadly seen and many viewers can not ignore the dialogue that takes place in his art.I examine how Bob Haozous's art depicts and critiques issues such as cultural assimilation, Indian identity, genocide, loss of language, and destruction of the earth, using humor and irony or trickster discourse, as a part of his visual language. What I propose in this dissertation is that Haozous's concept of "indigenous cultural dialogue," as expressed in his art, using visual and written language with trickster traces, provides a critical language with which to discuss Native art, cross culturally. Furthermore, that the recognizable element that can be use in the critical discussion or examination, is tricksternot trickster in corporeal form, but in subtle or obvious uses of humor or irony or in trickster's reversal of ideas.
    Type
    text
    Electronic Dissertation
    Degree Name
    PhD
    Degree Level
    doctoral
    Degree Program
    American Indian Studies
    Graduate College
    Degree Grantor
    University of Arizona
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