The first full-length critical analysis of the paintings of Jaune Quick-to-See Smith, this book focuses on Smithas role as a modernist in addition to her status as a wellknown Native American artist. With close readings of Smithas work, Carolyn Kastner shows how Smith simultaneously contributes to and critiques American art and its history. Smith has distinguished herself as a modernist both in her pursuit of abstraction and her expressive technique, but too often her identity as a Native American artist has overshadowed these aspects of her work. Addressing specific themes in Smithas career, Kastner situates Smith within specific historical and cultural moments of American art, comparing her work to the abstractions of Kandinsky and MirA³, as well as to the pop art of Rauschenberg and Johns. She discusses Smithas appropriation of pop culture icons like the Barbie doll, reimagined by the artist as Barbie Plenty Horses. As Kastner considers how Smith constructs each new series of artworks within the artistic, social, and political discourse of its time, she defines her contribution to American modernism and its history. Discussing the ways in which Smith draws upon her cultural heritageaboth Native and non-NativeaKastner demonstrates how Smith has expanded the definitions of aAmericana and amodernista art.change of clothes cannot express it. The artist ... Haircut and / white peoplea#39;s / clothes, / manners / and religion / will make a / Happy and / Healthy child. / Priests ... 31 Like his namesake, the Ken doll, Ken Plenty Horses has no responsibilities.
|Title||:||Jaune Quick-to-See Smith|
|Publisher||:||UNM Press - 2013-10-15|