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Indigenous Artistic Activism and the...

Sparks, Hannah L.,

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Indigenous Artistic Activism and the (Re)Envisioned Landscape: Decolonizing Settler Land Knowledge /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Indigenous Artistic Activism and the (Re)Envisioned Landscape: Decolonizing Settler Land Knowledge // Hannah L Sparks.
作者:	Sparks, Hannah L.,
面頁冊數:	1 electronic resource (95 pages)
附註:	Source: Masters Abstracts International, Volume: 85-12.
Contained By:	Masters Abstracts International85-12.
標題:	Aesthetics. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31240494
ISBN:	9798383058039

Indigenous Artistic Activism and the (Re)Envisioned Landscape: Decolonizing Settler Land Knowledge /
Sparks, Hannah L.,

Indigenous Artistic Activism and the (Re)Envisioned Landscape: Decolonizing Settler Land Knowledge /Hannah L Sparks. - 1 electronic resource (95 pages)

Source: Masters Abstracts International, Volume: 85-12.

In this thesis I investigate mimetic Indigenous artwork as a productive site of settler colonial disruption. More specifically, I attend to the potential of these artworks to disorient romantic habits of viewing landscapes. Framed as a critique of settler logics, I argue that the underlying ideologies of Euro-American romantic landscape art have tracked from the 19th - century to today to produce an illusory, aestheticized view of nature as grand and empty, distancing settlers from the material realities of land use and the violence of settler colonialism. In a contributory attempt to decolonize settler understandings of and relations to land, I look to artworks by Indigenous artists Kent Monkman and Nicholas Galanin as examples of subversive critique, claiming that through mimetic, intertextual techniques, their works strategically engage with settler colonial systems as a challenge to romantic settler land relations, prompting new engagement with memory, land, and place. Using decolonial studies and visual rhetoric as centralizing frameworks, I constellate concepts such as detournement (Debord, 1959), moral shock (Jasper, 1997) and settler common sense (Rifkin, 2013) to highlight the ways that these artworks disrupt settler land logics and work to fracture the "settler sublime." This thesis ultimately advocates for a critical rupture in romantic conceptions of land; while mimetic Indigenous artworks may not constitute a paradigm shift on their own, they actively work to dismantle settler ideologies, creating space for Indigenous epistemologies to emerge.

English

ISBN: 9798383058039Subjects--Topical Terms:

523036
Aesthetics.
Subjects--Index Terms:

Decoloniality

Indigenous Artistic Activism and the (Re)Envisioned Landscape: Decolonizing Settler Land Knowledge /
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520 $a In this thesis I investigate mimetic Indigenous artwork as a productive site of settler colonial disruption. More specifically, I attend to the potential of these artworks to disorient romantic habits of viewing landscapes. Framed as a critique of settler logics, I argue that the underlying ideologies of Euro-American romantic landscape art have tracked from the 19th - century to today to produce an illusory, aestheticized view of nature as grand and empty, distancing settlers from the material realities of land use and the violence of settler colonialism. In a contributory attempt to decolonize settler understandings of and relations to land, I look to artworks by Indigenous artists Kent Monkman and Nicholas Galanin as examples of subversive critique, claiming that through mimetic, intertextual techniques, their works strategically engage with settler colonial systems as a challenge to romantic settler land relations, prompting new engagement with memory, land, and place. Using decolonial studies and visual rhetoric as centralizing frameworks, I constellate concepts such as detournement (Debord, 1959), moral shock (Jasper, 1997) and settler common sense (Rifkin, 2013) to highlight the ways that these artworks disrupt settler land logics and work to fracture the "settler sublime." This thesis ultimately advocates for a critical rupture in romantic conceptions of land; while mimetic Indigenous artworks may not constitute a paradigm shift on their own, they actively work to dismantle settler ideologies, creating space for Indigenous epistemologies to emerge.
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590 $a School code: 0659
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650 4 $a Rhetoric. $3 516647
650 4 $a Native studies. $3 3642179
653 $a Decoloniality
653 $a Indigenous artwork
653 $a Landscape
653 $a Settler sublime
653 $a Visual culture
690 $a 0681
690 $a 0741
690 $a 0650
710 2 $a Syracuse University. $b Communication and Rhetorical Studies. $e degree granting institution. $3 3824276
720 1 $a Morris, Charles E., III $e degree supervisor.
773 0 $t Masters Abstracts International $g 85-12.
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