Skip to Main Content
Skip Nav Destination

Chapter 3 demonstrates how the work of contemporary artists can prompt imaginative engagements with past materials that had equally complex lives abroad. Horton overturns a truism that Native American artists have never exhibited in the U.S. Pavilion of the Venice Biennale, revealing that the neoclassical pavilion held indigenous pottery, silverwork, textiles, and gouache paintings in 1932, just two years after its construction. When U.S. organizers determined that the display failed to communicate a nationalist agenda, it was excised from a dominant narrative of transatlantic modernism. Horton reclaims this covered ground by looking at the exhibited work of Hopi artist Fred...

This content is only available as PDF.
You do not currently have access to this chapter.
Don't already have an account? Register
Close Modal

or Create an Account

Close Modal
Close Modal