N M Mithlo
Biographic Data
| ID | 15592 |
|---|---|
| NAME | N M Mithlo |
| GIVEN NAMES | N M |
| FAMILY NAME | Mithlo |
| SIGNATURE | MITHLO N M |
| AFFILIATIONS | Smith College |
| ORCID | 0000-0001-9916-4977 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 24 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1995 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 2 |
Perspective‐Taking Can Lead to Increased Bias: A Call for ‘Less Certain’ Positions in American Indian Contexts
This paper presents findings from research conducted by two U.S. scholars from divergent disciplinary fields (Indigenous studies, cognitive science) and backgrounds (Chiricahua Apache, first‐generation U.S. immigrant) under a National Endowment for the Arts grant (2015‐2018). Our goal was to assess perceptions of American Indian peoples reflected in verbal responses (and in the lab settings, eye gaze) to historic photographs with the aim of enhan…
Decentering Durham
This section of the AICRJ special issue on fraud looks back to a 2017 group conversation (first published in First American Art Magazine no. 19 (Fall 2017): 84–89) as four Native American scholars and artists respond to the then-traveling retrospective exhibit Jimmie Durham: At the Center of the World in light of Durham’s long-standing claims to Cherokee identity. In “Decentering Durham,” Chiricahua Apache scholar Nancy Marie Mithlo argues that, …
The Artist Knows Best: The De-Professionalism of a Profession
The traveling art exhibit Jimmie Durham: At the Center of the World (2017–2018) demonstrated three powerful art world tendencies: the use of fraud as an artistic register, the assertion of the artist as authority, and the decontextualization of the arts as an object-centered analysis. These three approaches are congruent with capitalism and the private market, while simultaneously negating Indigenous values of community-based knowledges that oper…
Introduction: Fraud in Native American Communities
Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Nancy Marie Mithlo; Introduction: Fraud in Native American Communities: Essays in Honor of Suzan Shown Harjo. American Indian Culture and Research Journal 1 October 2019; 43 (4): 1–8. doi: https://doi.org/10.17953/aicrj.43.4.mithlo.intro…
No Word for Art in Our Language? Old Questions, New Paradigms
No Word for Art in Our Language?:Old Questions, New Paradigms Nancy Marie Mithlo (bio) Contemporary American Indian art, like other American Indian disciplinary fields, such as American Indian literature, law, or politics, has a unique historical trajectory. Yet unlike these more established scholarly subfields, American Indian art lacks a discernable infrastructure, a theoretical basis, or a comprehensive history.1 Why is this so, when the arts …
Blood Memory and the Arts: Indigenous Genealogies and Imagined Truths
The articulation and advancement of a qualitative (and some might charge imaginative) approach to contemporary Native arts criticism characterized by attention to the body, the experience of belonging, and the implications of these attributes for collective memory and place by way of blood reckoning reflects indigenous collective thought and political realities in meaningful ways. Blood relationships reference not only biological heritage or race…
A Real Feminine Journey
Despite the prevailing acceptance of homogenized global sensibilities in media productions, many American Indian and other indigenous artists continue to articulate a sovereign, bounded, and discrete identity based on land, family, and memory. Both material (embodied knowledge) and ideological (the interconnectedness of people, the earth, and culture) constructs enable communal paradigms rather than individualistic or gendered identities to rise …
Reappropriating Redskins: Pellerossasogna (Red Skin Dream): Shelley Niro at the 50th La Biennale Di Venezia
The planning and exhibition of contemporary native film at the Venice Biennale 2003 serves as the forum for discussing the reappropriation of derogatory stereotypes as a means of sovereign self‐empowerment. The author argues that the power to name, classify and imagine cultural others cannot be eliminated solely by the subject population's call for eradication of damaging stereotypes, such as mascots. Specifically, mascots are interpreted as exam…
Red Man's Burden: The Politics of Inclusion in Museum Settings
The interactions of two distinct groups, broadly defined as Native American populations and individuals associated with the museum profession, primarily anthropologists, have fueled countless studies, manuscripts, films, and articles.1 The contact, negotiations, and legal entanglements of these constituents and their varied interests over the past century are commonly characterized by oppositional social mores and strategies. Typically, Indigenou…
"We Have All Been Colonized"1: Subordination and Resistance on a Global Arts Stage
A century of Native American arts commerce in Santa Fe, New Mexico, has resulted in a market in which visual artists report severe restrictions, both in the content of their work and its reception. This case study examines the efforts of a contemporary native arts collective based in Santa Fe that sought to "create culturally-significant art free of the pressures of a commercially-driven society." The forum the group chose was the global stage of…
Staging the Indian: The Politics of Representation
Staging the Indian: The Politics of Representation. The Tang Teaching Museum and Art Gallery at Skidmore College. February 2, 2002-June 2, 2002
Culture in the Marketplace: Gender, Art and Value in the American Southwest
Culture in the Marketplace: Gender, Art and Value in the American Southwest Molly H. Mullin. Durham: Duke University Press, 2001. 232 pp. 10 black and white photos, bibliography, index. $18.95 (paper); $54.95 (cloth
Iaia rocks the sixties: The painting revolution at the institute of American Indian arts
Iaia rocks the sixties: The painting revolution at the institute of American Indian arts. February 2. September 30 2001, Institute of American Indian Arts Museum, Santa Fe, New Mexico
History is Dangerous
Red Man's Burden: The Politics of Inclusion in Museum Settings
The interactions of two distinct groups, broadly defined as Native American populations and individuals associated with the museum profession, primarily anthropologists, have fueled countless studies, manuscripts, films, and articles.1 The contact, negotiations, and legal entanglements of these constituents and their varied interests over the past century are commonly characterized by oppositional social mores and strategies. Typically, Indigenou…
A Real Feminine Journey
Despite the prevailing acceptance of homogenized global sensibilities in media productions, many American Indian and other indigenous artists continue to articulate a sovereign, bounded, and discrete identity based on land, family, and memory. Both material (embodied knowledge) and ideological (the interconnectedness of people, the earth, and culture) constructs enable communal paradigms rather than individualistic or gendered identities to rise …
Staging the Indian: The Politics of Representation
Staging the Indian: The Politics of Representation. The Tang Teaching Museum and Art Gallery at Skidmore College. February 2, 2002-June 2, 2002
Reappropriating Redskins: Pellerossasogna (Red Skin Dream): Shelley Niro at the 50th La Biennale Di Venezia
The planning and exhibition of contemporary native film at the Venice Biennale 2003 serves as the forum for discussing the reappropriation of derogatory stereotypes as a means of sovereign self‐empowerment. The author argues that the power to name, classify and imagine cultural others cannot be eliminated solely by the subject population's call for eradication of damaging stereotypes, such as mascots. Specifically, mascots are interpreted as exam…
"We Have All Been Colonized"1: Subordination and Resistance on a Global Arts Stage
A century of Native American arts commerce in Santa Fe, New Mexico, has resulted in a market in which visual artists report severe restrictions, both in the content of their work and its reception. This case study examines the efforts of a contemporary native arts collective based in Santa Fe that sought to "create culturally-significant art free of the pressures of a commercially-driven society." The forum the group chose was the global stage of…
Iaia rocks the sixties: The painting revolution at the institute of American Indian arts
Iaia rocks the sixties: The painting revolution at the institute of American Indian arts. February 2. September 30 2001, Institute of American Indian Arts Museum, Santa Fe, New Mexico
History is Dangerous
History is Dangerous
Iaia rocks the sixties: The painting revolution at the institute of American Indian arts
Iaia rocks the sixties: The painting revolution at the institute of American Indian arts. February 2. September 30 2001, Institute of American Indian Arts Museum, Santa Fe, New Mexico
Culture in the Marketplace: Gender, Art and Value in the American Southwest
Culture in the Marketplace: Gender, Art and Value in the American Southwest Molly H. Mullin. Durham: Duke University Press, 2001. 232 pp. 10 black and white photos, bibliography, index. $18.95 (paper); $54.95 (cloth
Staging the Indian: The Politics of Representation
Staging the Indian: The Politics of Representation. The Tang Teaching Museum and Art Gallery at Skidmore College. February 2, 2002-June 2, 2002
Reappropriating Redskins: Pellerossasogna (Red Skin Dream): Shelley Niro at the 50th La Biennale Di Venezia
The planning and exhibition of contemporary native film at the Venice Biennale 2003 serves as the forum for discussing the reappropriation of derogatory stereotypes as a means of sovereign self‐empowerment. The author argues that the power to name, classify and imagine cultural others cannot be eliminated solely by the subject population's call for eradication of damaging stereotypes, such as mascots. Specifically, mascots are interpreted as exam…
Red Man's Burden: The Politics of Inclusion in Museum Settings
The interactions of two distinct groups, broadly defined as Native American populations and individuals associated with the museum profession, primarily anthropologists, have fueled countless studies, manuscripts, films, and articles.1 The contact, negotiations, and legal entanglements of these constituents and their varied interests over the past century are commonly characterized by oppositional social mores and strategies. Typically, Indigenou…
"We Have All Been Colonized"1: Subordination and Resistance on a Global Arts Stage
A century of Native American arts commerce in Santa Fe, New Mexico, has resulted in a market in which visual artists report severe restrictions, both in the content of their work and its reception. This case study examines the efforts of a contemporary native arts collective based in Santa Fe that sought to "create culturally-significant art free of the pressures of a commercially-driven society." The forum the group chose was the global stage of…
A Real Feminine Journey
Despite the prevailing acceptance of homogenized global sensibilities in media productions, many American Indian and other indigenous artists continue to articulate a sovereign, bounded, and discrete identity based on land, family, and memory. Both material (embodied knowledge) and ideological (the interconnectedness of people, the earth, and culture) constructs enable communal paradigms rather than individualistic or gendered identities to rise …
Blood Memory and the Arts: Indigenous Genealogies and Imagined Truths
The articulation and advancement of a qualitative (and some might charge imaginative) approach to contemporary Native arts criticism characterized by attention to the body, the experience of belonging, and the implications of these attributes for collective memory and place by way of blood reckoning reflects indigenous collective thought and political realities in meaningful ways. Blood relationships reference not only biological heritage or race…
No Word for Art in Our Language? Old Questions, New Paradigms
No Word for Art in Our Language?:Old Questions, New Paradigms Nancy Marie Mithlo (bio) Contemporary American Indian art, like other American Indian disciplinary fields, such as American Indian literature, law, or politics, has a unique historical trajectory. Yet unlike these more established scholarly subfields, American Indian art lacks a discernable infrastructure, a theoretical basis, or a comprehensive history.1 Why is this so, when the arts …
Decentering Durham
This section of the AICRJ special issue on fraud looks back to a 2017 group conversation (first published in First American Art Magazine no. 19 (Fall 2017): 84–89) as four Native American scholars and artists respond to the then-traveling retrospective exhibit Jimmie Durham: At the Center of the World in light of Durham’s long-standing claims to Cherokee identity. In “Decentering Durham,” Chiricahua Apache scholar Nancy Marie Mithlo argues that, …
The Artist Knows Best: The De-Professionalism of a Profession
The traveling art exhibit Jimmie Durham: At the Center of the World (2017–2018) demonstrated three powerful art world tendencies: the use of fraud as an artistic register, the assertion of the artist as authority, and the decontextualization of the arts as an object-centered analysis. These three approaches are congruent with capitalism and the private market, while simultaneously negating Indigenous values of community-based knowledges that oper…
Introduction: Fraud in Native American Communities
Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Nancy Marie Mithlo; Introduction: Fraud in Native American Communities: Essays in Honor of Suzan Shown Harjo. American Indian Culture and Research Journal 1 October 2019; 43 (4): 1–8. doi: https://doi.org/10.17953/aicrj.43.4.mithlo.intro…
Perspective‐Taking Can Lead to Increased Bias: A Call for ‘Less Certain’ Positions in American Indian Contexts
This paper presents findings from research conducted by two U.S. scholars from divergent disciplinary fields (Indigenous studies, cognitive science) and backgrounds (Chiricahua Apache, first‐generation U.S. immigrant) under a National Endowment for the Arts grant (2015‐2018). Our goal was to assess perceptions of American Indian peoples reflected in verbal responses (and in the lab settings, eye gaze) to historic photographs with the aim of enhan…
Art (9 works) · Sociology (9 works) · History (8 works) · Indigenous (7 works) · Law (7 works) · Political science (7 works) · Anthropology (6 works) · The arts (5 works) · Visual arts (5 works) · Aesthetics (4 works)