Rockwell Museum of Western Art
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Visitors in Special Exhibition GalleryVisitors in Visions of the West GalleryFrederic S. Remington, The Rattlesnake, modeled in 1905, cast bronze, Rockwell Foundation purchase.  78.96 FVisitors in the Cowboy Gallery
 
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Exhibitions

 Exhibitions

The Legacy of the Vanishing Race


End of the Trail by James Earle Fraser Vanishing Race - Navaho by Edwards S. Curtis Indian Cliche (det.) by Fritz Scholder Edward Curtis' Last Photo (det.) by Larry McNeil
In this gallery are three works of art and a reproduction of a famous photograph all of which confront the idea that Native Americans are a vanishing race. The two earlier works, James Earles Fraser's famous sculpture "The End of the Trail" and the reproduction of Edward Sherriff Curtis' famous photograph, "Vanishing Race - Navaho" (below) represent the early 20th century view of a dying Native American culture. Some say this idea was conjured as a convenient balm for the Euro-American conscience in the face of Manifest Destiny. Others say it arose from the drastic decline in the Native American populations after the onslaught of military defeat, forced assimilation, and deadly disease. Artists, like Fraser and Curtis, had much to do with perpetuating the idea of a tragic and dying race in popular culture. Even though many artists sought to document or pay homage to a people they respected, their first concern was chiefly an aesthetically pleasing product that frequently sacrificed cultural or historical accuracy for perfect composition. While such details were minute in the moment, collectively they imprinted upon public perception and became stereotype.

Decades later, Native Americans, in particular those contributing to cultural revival, have a chance to artistically respond to these early perceptions. The two selected works presented here are Fritz Scholder's "Indian Cliché," an iconic take on Fraser's sculpture from an artist who struggled with his own ethnic identity in the face of these stereotypes, and contemporary photographer Larry McNeils' humorous view of how some of Curtis' models might have reacted to being costumed and posed by a foreigner.
Ultimately, Fraser and Curtis are not to be demonized for what they achieved, nor are Scholder and McNeil to be written off as disenfranchised editors of history. It is sometimes only with the benefit of hindsight and a multiplicity of perspectives to enrich the context that we can recognize the true nature of our history. All of these artists have contributed to that history and context. It is up to you, the viewer, to gain a greater understanding from their efforts so as to forge how your own actions will be viewed in the context of the future.

Rockwell Museum of Western Art 607-937-5386
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