Scholder by Lowry Sims
Scholder by Lowry Sims
Institution. Compilation © 2008 NMAI, Sm ithsonian Institut ion. ISBN 978-3-7913-5111 -7 (trade hardcover)
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Published in conjunct ion with the exhibition Fritz Scholder:
Indian/ Not Indian , open ing concurrently at the Smithsonian's
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Prestel Verlag Back cover: Frit z Scholder, New Mexico No. 1, 196 __ Oil
Neumarkter Strasse 28, 81673 Munich 152-4 x 152.4 cm. Collection of the Esta e of fr"· z Sc o c
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p. 1: Fritz Scholder, Indian with Flog, 1970.
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p. 2: Fritz Sch old er, American Indian, ;i.
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p. 4: Fritz Scholder, Self Portra ·t • 2-. !
www.prestel.com 40.6 x 40 .6 cm. Collection of e E:s•a•e
Scholder's Figurati
LOWERY STOKES S I MS
canvases of black imagery that existed in chat liminal space between abstraction and
figuration. Works from the late 1950s and ea rly '60s also show fragmented, crystalline,
cubistic structures as seen in Bottles on Land (1957- 58); painterly figuration in The Meet-
ing (p. 59); and stratified , tex cu ral landscapes such as Land Barriers (above) chat exposed
process in the cultivation of drips and runs of paint, and bristled, stippled dubs of pig-
ment. This genre would occupy Scholder through the early 1960s.
As noted by Leslie Wasserberger, in a 1982 monograph Scholder enumerated his
"favorite artists" and the aspects of t heir work that particularly attracted him: "Goya
(the aquacints), Von Stuck (the imagery), Matisse (early works), Monet (Giverny years),
Bonnard (the color), Picasso (Barcelona years), Munch (the intensity), and O'Keeffe
(the person 11 ) ." 12 Among the contemporary artists he mentions are Bay Area artists
Di ebenkorn, Thiebaud, and Oliveira, and he singles out the Norwegian painter Edvard
Mu nch and the British painter Francis Bacon. 13 D es pite this rich menu of stylistic influ-
ences, however, it is imposs ible to ignore the societal forces that swept Scho lder up into
the arena of what was then known as Native American art in the 1960s, and how the
In stitute of American Indian Arts (IAIA)-where Scholder joined the faculty in 1964,
two years after it first opened its doors-attempted to change this art. As Richard Hill
describes in his essay in this volume, official policy-whether governmenta l or art
world- prese nted specifi c challenges to a new generation of Native Americans in the
arts who were determined to forge th eir own paths in the world and the world of art.
SCHOLDER'S FIGURATION
Fritz Scholder, Life Image , 1963.
Oil on canvas, 168.9 x 212.1 cm.
Collectio n of the Arizona State
University Art Museum.Gift of
Mr. Kel ley Rollings.
SCHOLDER'S FIGURATION 83
as derived fro m Sioux cu lture and philosophy. 16 Morrison settled in New York City to
study and work at the Art Students League in the mid 1940 during the semin al years
of abstract expressionism. By th e late 1950s, he had fully developed his own abstract
expres ioni st style, becomi ng the first Native American artist to be recogni zed in that
context. 17 Morrison's application of paint "directly from t he tube usi ng a bru sh or pal-
ette knife ' was in the spontaneous method associated w ith the abstract expre sionist
movement. 18 This was the very sam e moment that Scheider was creating hi s afore men-
tioned landscape paintings in Sacramento. Scholder would enco unter Allan Houser
when they both served on the faculty of the IAIA. As Houser emerged from Indian
boarding schools and the Santa Fe Indian School Studio in the mid 1930s he eventu-
ally found a formal vocabu lary that revealed the synthes is of traditional cu ltures of the
Americas, the Pacific, and Africa by modernist scu lptors. 19
As Ri chard Hill and Leslie Wasserberger note in their essays in this volume, Houser,
Scholder, and fellow facu lty m embers and the students who gathered at the IAIA in
the early 1960s were united by the sin gula r purpose to forge new forms of expression
in the vis ual arts. The impetus for their efforts came out of the Southwest Indian Art
Project in w hich Scholder had participated in 1961. This was the moment in which
Scholder began the transition that took him from Ca lifornia to the Southwest, and
to an acknowledgment of his Indian heritage. 20 After win nin g first prize at the Tenth
Southwestern Painters Festival Show at the Tucson Art Center in 1960, he received a full
scholarship to participate in the Rockefeller Foundation-sponsored Southwes t Indian
Art Project at the University of Arizona in 1961. 2 1 He taught at the project the follow-
ing summer and that sa me year, 1962 moved to Tucson to study for his master's degree
at the University of Arizona. After he received his degree in 1964, he was hired at the
IAIA to teach "advanced painting and contemporary art history." 22
Scholder him self does not provide details about the transition in bi s work at chis
time. When he arrived at the IAIA, he was still painting his abstracted landscapes
such as Bands ofLand (p. 85 ) and Land Seed (1963). That work had served him well , not
SC H OL DER' S FIGURATION 85
Fritz Scho lder, Super Pueblo, 1968. Acry lic on canvas, 185.4 x 210.8 cm.
Collect ion of t he Bureau of Indian Affairs Museu m Program.
I'•
Fritz Scholder, Dying Indian, 1969. Acrylic on canvas, 68.6 x 101.6 cm.
Co ll ection of Romona Scholder.
,.,,·
• -<
94 L O WERY ST O K ES SIMS
tion in the 1950s-was experiencing his own cultural
epiphanies in Egypt (1964- 67) and France (1967-70) as
Scholder was find in g his style and su bj ect matter. Cole-
scott's work at that ti me showed an abstracted fi gura-
tion rendered in increasingly bright colors. By the 1970s
the shapes coalesced into more recogni zable forms as
seen in Havana Corona (below right). Colescott would
progress through the 1970s into a tighter style that refer-
enced counterculture comic art (especially strong in Sa n
Francisco where he was working 32) and popular culture
and media as he engaged ethnic, racial, and gender sub-
jects. Co lescott's art became a potent manifestation of
his own am bivalent, even defensive, attitude toward the
societal and political issues he had to contend with as a
black male in America n society.
Whereas Colescott would continue to push the
bound aries of good taste, propriety, and political cor-
rectness to its limits through the 1970s, and indicate the
path of what John Russell called the "bad m anners" of
postmod ern ism, Scho lder's subjects exude an expres-
sionistic ex istential angst that is very much part of the
postwar ze itgeist of t he 1950s and '60s. Despite the fact
that he becam e irrevocably associated with Indian sub- Fri tz Sc ho lder, White Girl with Cherokee Pendant, 1970. Oil on
ject matter, he persistently sought to tread lightly with canva s, 147.3 x 114.3 cm. Co llecti on of Romona Scholder.
regard to the implications of that ethnic association.
In th at he is closer in spirit to Bob Thompson, who
obscured any politica l or social commentary in hi s pro-
vocati ve use of non-referential coloring fo r his figures.
One Scholder work of 1970, White Girl with CherolwePen-
dant (above ri ght), in particular does approxim ate Cole-
scott's ow n sardonic view of w hite privilege, thoughtl ess
cu ltural appropri ation , and blatant ex hi bitionism , and
Indian in Gallup of the same yea r di splays skeletal fea-
tures that contrast di sconcert ingly with his casual gait
and posture.
Scholder's ow n attitude toward his subj ect matter
seems to be a complicated m ixture of ambivalence,
pride, recuperation, and, fina lly, enn ui. W hile origin ally
positioned by hi m as a counter to kitschy, romantic
images of Ind ians by outsiders seeking to stereotype
them within controll able notions of the "other" in
postcolonial discou rse, his purported "realism" wou ld
have functioned in an anom alous way w ith how Native
America ns wou ld have preferred to depict themselves.
Photography in particular was an especia lly accessible
and effective way for Native Americans to make im age
of themse lves. As Lesli e Wasserberger expertly chron i-
cl es in her essay, historical photograp hs of N ative Ameri-
ca ns by non-N atives were an important source for the Rob ert Co lesco tt (A merican, b. 1925), Havana Corona, 1970. Acryl ic
students at the IAIA and Scholder as he began to pa int on ca nva s, 199.4 x 149.9 cm. Co llection of t he Broo klyn Mu seum.
Indian subj ect m atter. Gift of Bro oke and Carolyn Alexande r, 1991.270. © Robe rt Co lescott.
Ri chard Ray Whitman (Euchee/ "I was a student at the Institute of American Indian Arts from 1968-
Muscogee Nation, b. 1949), 70 and studied drawing and art history in Fritz Scholder's classes,"
Street Chief #1 , 1985 . Black- Whitman recalls . "Showing us slides of contemporary artwork, Fritz
and -whi te photograp h, 25.4 x introduced us to new possib ilities in composition, us ing color, tex-
33 cm. Collection of the arti st. ture, co llage, text, and subject matter.
LO WERY S TOKES S I M S
Kay WalkingStick (Cherokee,
b. 1935), Where Are the Gen-
erations?, 1991. Oil on canvas
(r ight sid e) and ac ryl ic and wax
with coppe r on canvas (left
side), 71.1 x 143.5 cm. Collec-
tion of Mr. and Mrs. James B.
Straw. © Kay Wa lkingStick.
The irony of th eir usi ng images that strained the limits of authenticity and were
often composed in the studio has not been lost on Wasserberger. Paul Chaat Smith has
observed that, nonetheless, these photographs were an important reference for Native
Americans, especiall y for a generation whose connection with their past had bee n
severely comprom ised during the period of assimilation foisted on Native populations
through government policies. 33 Scholder's non-apologetic depictions can be seen along-
ide the work of Native photographers working in the 1920s and '30s such as Horace
Poolaw (Kiowa, 1906-1984), and found parallels in the work of Scholder's younger
contemporaries Richard W. Hill , Sr. (Tuscarora, b. 1950) and Richard Ray Whitman
(Euchee/ Muscogee Nation, b. 1949) in the 1970s and '80s. 34 These photographers also
ought to deconstruct for the rest of us our romantic illu sions and at the sa me time illu-
minate the actua lity of Native existence in the modern world.
In 1982, Schold er decided to establi sh a more ongoing presence in New York City.
Althou gh he had been exhibitin g in the city w ith different ga lleries through the 1970s,
this was the moment when he ev id ently hoped to move past his Indi an imagery. When
Scholder decided to engage the New York art world in the 1980s, it was the era of
postmodern id ent ity politics, and hi s work would have been seen alongsi de t hat of a
number of Native artists who were achi ev ing recognition within that art world. The
work of artists such as Edgar Heap of Birds (Cheyenne, 6. 1954), Jimmie Durham
(6. 1940), and James Luna (Lu isefio, b. 1950) demonstrates how Native artists were
now engagin g media such as insta ll ation and performance art. On the other hand ,
two artists w ho were close in age to Scholder- Kay WalkingStick (Cherokee, b. 1935)
and Jaune Quick-to-See Sm ith (Flathead Salish/member of the Confederated Salish and
SCHOLDER'S F I G UR ATION 97
Kootenai ation of Montana, b. 1940)-created alternative approache to ati ve figu-
ration that mediate issues of identity, mixed ancestry, and style th at were more in step
with the sensibility of the 1980s than Scholder's abstracted figural style. Paradoxically,
at the very moment Scholder wanted to move past associations with hi s Native heri-
tage, th ese and other Native artists were embracin g theirs in step w ith the proliferation
of identity-based arr in the postmodern context.
Like Scholder, WalkingStick was raised outside the culture of her Nati ve American
fath er. As she notes , however, her moth er encouraged her to be proud of her Indi an
heritage. 35 She emerged in the New York arc wo rld in t he early 1970s in the context of
minimalism, whi ch she inA ected with fe mini st content, creating Aat, unmodulated,
de-cultu ralized female shapes arra nged a inter-fit ting elements on the ca nvas . These
images, as she noted, tra nscended issues of race o r nationality to express "o ur shared
human ity." 36 H er subsequ en t reckoning w ith her Native heritage produced schem atic
elements th at imbued her minimal compositions w ith cultu ra l all usions: th e outline
of a tipi , an apron , arcs (bows), and as ertive slashes. In the 198 0s, land scape vignettes
of rocks, crev ice , waterfa ll s and mountains form ed diptychs w ith symbo ls such as
ova ls, lozenges, circles, and crosses chat can be seen as referencin g concepts such as the
four directio ns. With the death of her hu band in 1989, she created a di ptych w ith a self-.
portrait and , as she notes, began to realize that th e land scape elem ents in her work were
surrogates fo r her own body. An Itali an sojourn in the lacer 1990s produced the reintro-
duction of female fo rms in "display" poses or a dancing silhouettes superimposed over
the land scape elem ents of the d iptychs.
During th e 1950s, Jaun e Quick-to-See Sm ith worked and raised her children whil e
attending college at ni ght. 37 In graduate school at the University of New Mex ico in
the mid 1970s, she evoked the look and texture of treated buffalo hides (her Ronan
Robe seri es) by cutting ca nvases into ecce ntric shapes, applying beeswax and paint to
the surface , and smoking them over fire. About the same time, an encounter in New
York with the work of the Pari sian-born Venezuelan artist Mariso l, associated with th e
pop art group, res ulted in mixed-media fi gural sculptures of women, which she cre-
ated along with drawings and collages fro m photograph s of Nati ve women artists. By
the mid 1980s, Smith bega n paintin gs and drawin gs of larger anim als and fi gures that
moved "between pictograms and .. .more realisti c outlin ed shapes, aU incorporated
into an abstract landscape." The marks referred to watering holes, in sects, tracks of
bird s, arrows, and various decorative lin es th at encapsul ated her se nse of movem ent
across the landscape. H er evol ving figural style was remin iscent of schematic rend er-
ings in ancient Native cave paintings or ledger draw in gs and the beading traditions of
her ow n Pl ains heritage . H er incorporation of collage, newsprint, labels from var ious
form s of produ ce, and rend erings of commercial line dravvings in her work point to
a "pop art ' sensibility comparabl e to ch at of the new N ative style tl1 at emerged at the
IAIA in the ea rly co mid 1960s. The strong cha rcoal outlines of horses bison, women's
dresses, men's vests, and ca noes that o ften are the fo cus of these compositions are all
"iconogra phi c" elements that can be found in the beaded flat bags made on her reserva-
tion. Th ey became powerfu l vehicles fo r Smit h's wry commentary on stereotypes and
archetypes.
By contrast, th en, Schold er's work would have seemed out of date in the context of
this postmodern infa tuat ion w ith the media and recuperations of cultural elements.
Hi s ex istenti al approach seemed more in step with the 1950s and '60s and hi s abstract
expressioni st roots. His New York engagem ent did not have the impact he hoped, and
hi s last exhibition there was in 1991 w ith Alexa nd er Ga ll ery. Fritz Scholder: Indian/Not
Indian now provides an opportunity to reevalu ate his legacy, however disputed and
variou s it might be. It is clea r ch at he not on ly revolutioni zed the possibi li ties of self-
depiction and presentation of Native Am erica ns out in the world but also indicated the
potent ial arc and expanse of a career in the arts for Native Americans. His work dem-
o nstrated the power of the culturalized figure to not only convey but also encapsulate
the ex istenti al condition of that cultura lized situation . By deli berately deco nstructing
the romanticized or kitsch stereotypes of Native America ns, he paradoxically hum an-
ized them and made them more "real" than they had ever bee n in the prolific encyclo-
pedia of Native images.
As he deconstructed habitu al and official notions of Native America n art, Scho lder
also anticipated w hat has coalesced into the postmodern moment where the past con-
tinues to be the source of contemporary critique, but where the reins of the conversa-
tions around culture, race, and identity h ave now been seized by artists embedded in
those communities once plundered in the modernist enterprise. Not only returning the
Notes
1 Frit z Scheider, Scho/der/lndians, Introduct ion by Adelyn D. Breeskin, Co mm enta ry by Rudy H. Turk
(Fl agstaff, AZ: Northland Press, 1972), 34 .
2 See Paul Chaat Smith's essay in this volume for a discussion of the paradoxes that framed Scholder's
life.
3 Pete r Plagens, Sunshine Muse: Contemporary Art on the West Coast (New York: Praeger, 1974), 41.
4 Nathan Olive ir a, quoted in Caro lin e Jones, Bay Area Figurative Art: 1950- 1965, ex h. ca t. (Berke ley
and London: Un ivers ity of California Press, 1989), 102.
5 Plagens, Sunshine Muse, 59 .
6 See http: // www.scholder.com / scholder_bio.html. All information th at follows in this paragraph has
been taken from the Scheider website .
7 Karen Tsu jimoto relat es th is morphologica l cha ra cter in Thiebaud's work to th e pa inting s of I Mac-
ciaio li, an Italia n schoo l that flourished between 1853 and 1862. See Karen Ts ujimoto , Wayne Thie·
baud, exh. cat. (San Francisco : San Francisco Museum of Modern Art, in association with Universit y
of Wash ington Press, 1985), 30.
8 The Artists' Co ll aborative Gallery opened in Sacra men to on April 18, 1958. See John Oglesby, " Coop·
erative Ga llery Has Sti mu la ting First Show," Sacramento Bee (May 3, 1958).
9 By co in ci den ce , Pasto, who had a jo int appo intm ent in the psychology and art departments at
Sacramento State, became an advocate for the we ll-known self-taught art ist Martin Ramirez. See
http: / /www. p hy l lis kin dga llery. com / self· taught / a rtb rut / m r/.
10 See http: / /www. mi djo -pasto -gallery.com.
11 In an interview posted on the we bsite of the Academy of Achievement, dated June 29 , 1996, conducted
in Sun Va lley, Idaho, Scheider recounts hi s meeting Georgia O'Kee ffe in Abiqu iu, an d recalls how he
spent many afte rnoon s with her. While he doesn't indicate the date of thi s meeting, he contextualizes
by noting th is happened when he was "a you ng painter" who had "just come to New Mexico," whic h
wou ld ind icate that t his was in 1964. See http:// www. achievement.org/ autodoc / page / sch1int-1.
12 Fritz Scheider, "Introduction," in Fritz Scho/de r, texts by Joshua C. Taylor, William Peterson, R. An-
drew Maass, Rudy H. Turk (New York: Ri zzo li, 1982), 24.
13 Ibid.
14 Truman T. Lowe, ed., Native Modernism: The Art of George Morrison and Allan Houser (Seattle: Uni-
vers ity of Washington Press in association w ith the National Museum of the Am erican Indian, 2004),
13. One of the websites where one can find informa t ion on Oscar Ho we notes that this style was also
know n as the "D isney" style because its flat, decora ti ve stylizations rese mb le d th e cartoon im age ry
t hen being deve loped by Walt Di sney and co mp any.
15 Barb ara H. Perlman , Allan Houser (Bo sto n: Dav id R. Godine, 1987) , quoted in Lowe, Native Modern-
ism, 14.
16 Howe has described his wo rk as " my version of Indian trad ition s to make it indiv idual istic in my own
way, but every part comes from Indian and now wh ite cu lture .... The basic design is Tohokmu (sp ider
web) . From an al l-Indian backgro und I developed my own style." See http: //www.usd.ed u/ whover/
oscarhowe. ht ml.
17 Lowe, Native Modernism, 15.
18 Ib id ., 21.
19 Like his contemporary t he African American sc ulptor Eli za beth Cat lett (b. 1915), He user's "cultu ral
modernism" derived from a global Native sens ib ility, as hers did from Afr ican and pre-Co lumb ian art,
and fle w in th e face of outside perc eptions of w hat Native or African American art should be. As the
Santa Fe School pres um ed , so the Harmon Foundation presumed to dicta te what was ap prop ri ate art
to be made by African American arti sts. Such presc ription s frequ en t ly centered on whethe r a figural
or abstract sty le was more approp ri ate to the social, pol itical, and, of course , economic needs of t he
bl ack community. See Elsa Fine Honig, Afro-American Artists: A Search for Identity (New York: Holt,
Rineha rt an d Winston, 1973).
20 "Ch ronolo gy," in Fritz Scholder, 277.
21 According to Paul Cha at Smith , Scheider came to the attention of th e Rockefeller project because his
father had placed him on th e Lu iseiio t ribal rolls . Lowery Stokes Sims telephone conve rsa ti on with
Paul Chaat Smith, March 12, 2007.
10 0 LO WERY STOKES S I MS
22 Pau l Karlstrom, interview with Fritz Scho lder, 1995, Archives of Amer ica n Art, Sm ithson ian In stitution.
23 Eda Gordon, su mm ary of interview with IAIA archivist Chu ck Dailey, October 24, 2006, Santa Fe, NM,
su bmitted to Paul Chaat Smith on November 1, 2006; su mm ary of interview with former IAI A studen t
Lind a Lomahaftewa, January 2, 2007, Santa Fe, NM.
24 Eda Gordon, summary of interview with former IAIA student George Burdeau, December 16, 2006 ,
Santa Fe, NM.
25 Ade lyn D. Breeskin, Two American Pointers: Fritz Scholderand T. C. Cannon, exh. cat. (Was hin gton
D.C.: Sm ithson ian Institu tion Press for the Nat ional Co ll ection of Fine Arts , 1972), 13.
26 Eda Go rdon , summa ry of interv iew w ith Chuck Dailey.
27 Lesl ie Wasserberger, "The Demystification of Frit z Scholder," Master's thes is, San Francisco State
Uni vers ity, 1987, 17-51; Richard W. Hill , Sr., "The Institute of American Indian Arts: Pride or Preju -
dice," unpubli shed manuscript, 1991 (rev ised 1999), n.p. These manuscripts have formed the basis of
their essays in t hi s vo lu me.
28 Sieglinde Lemke, Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism
(New Yo rk: Oxford Univers ity Press, 1998), 25.
29 Both Lew is and Woodruff we re contemporaries of the abst ract expressionis ts, and both worked to
make the transition from the more clo istered contexts (At lanta and Harlem, respect ively) wit hin
wh ich th ey matured to establish the ir relat ionsh ip to the mainstream art world. Lewis exh ibited wit h
the Will ard Gallery and participated in the famed closed sess ion at Studio 35 (Apr il 21-23, 1950) t hat
marked th e definition of abstract express ion ism as a movement. Woodruff, then a professor of art at
New York Univers it y, mainta in ed th e ongo ing discussions and works hops initiat ed by the Stud io 35
group.
30 Kobena Mercer, "Introduct ion," in Kobena Mercer, ed., Discrepant Abstraction, with contr ibut ions
by Dav id Craven, Sta nl ey K. Abe, David Clarke, lftikhar Dadi, Mark A. Cheetham, Angel ine Morr ison ,
Kellie Jones, and Nathan iel Mackey (Cambr idge, MA: MIT Press; London : inl VA, 2006), 6-27.
31 Thelma Golden, Bob Thompson, ex h. cat., with essay by Judith Wilson and commentar ies by Sham im
Momin (New Yo rk : Wh itney Museum of American Art in association w ith Un ivers it y of Californ ia
Press, 1998), 22.
32 Plagens, Sunshine Muse, 94.
33 Lowery Stokes Sims telephone conversa tion with Paul Chaat Smith, Marc h 12, 2007.
34 See Lucy R. Li ppard, ed., Partial Recall: Photographs of Native North Americans (New York: New
Press, 1992).
35 Kay WalkingSt ick, ema il to Lo wery Stokes Sims, July 18, 2007. Also see Marga ret Archuleta, "Kay
WalkingStick (Cherokee)," in Pathbreokers : The Eiteljorg Fellowship for Native American Fine Art,
2003, ex h. cat ., Introduction by Lucy R. Lippa rd (Indianapolis: Eiteljorg Museum of Ame ri can Indians
and Western Art in association with Un ivers ity of Washington Press, 2003), 13-29 .
36 WalkingStick, emai l.
37 Jaune Qu ick-to-See Smith, telephone conve rsation with Lowery Stokes Sims, Ap ril 21, 2007, and
ema il of Ju ly 17, 2007, to Sims . All information on Smith's fo rm ative yea rs tha t follows, un less other-
w ise indicated, is based on th is conversation and email.