Joyce Szabo – William H. Morton Distinguished Fellow at Dartmouth for the fall 2010 Institute and Regents’ Professor of Art History at the University of New Mexico. A specialist of Native American Art and Museum Studies, Professor Szabo is beginning her twenty-secondth year as a faculty member at UNM. She obtained her undergraduate degree in Art and English from Wittenberg University, her MA in Art History from Vanderbilt University, and her PhD in Art History from the University of New Mexico. She began her teaching career at Old Dominion University in Norfolk, Virginia, then, while continuing to teach at Old Dominion, she became Curator of American Art at the Chrysler Museum in Norfolk. Returning full-time to teaching and research, Szabo joined the faculty of Texas Tech University and then the University of New Mexico. She enjoys the combination of teaching and guest curating exhibitions both on UNM’s campus and at other museums. Her area of particular focus is Plains drawing and painting from the late nineteenth to the early twentieth century, although she has published on other aspects of Native American art, as well as American art in general. Her publications include Fort Marion Art: The Arthur and Shifra Silberman Collection (2007); A Life in Balance: The Art of Conrad House (2006); Painters, Patrons, and Identity: Essays in Native American Art to Honor J. J. Brody, editor and contributing author (2001); Howling Wolf and the History of Ledger Art (1994); and Howling Wolf: An Autobiography of a Plains Warrior-Artist, (1992). Her forthcoming book Imprisoned Art is scheduled to appear in the spring of 2011.
Joe D. Horse Capture (A'aninin [Gros Ventre]) is the Associate Curator of Native American Art at The Minneapolis Institute of Arts and guest curator of Native American Ledger Drawings from the Hood Museum of Art: The Mark Lansburgh Collection. Joe's most recent exhibition is From Our Ancestors: Art of the White Clay People, which chronicles the art and culture of his people, the first exhibition/catalog to focus on the A'aninin. Some of his publications include Beauty, Honor and Tradition: The Legacy of Plains Indian Shirts (2003), Sacred Legacy: Edward S. Curtis and the American Indian, contributor (2000), and Warrior Artists, co-author (2000). Joe has been a guest curator and consultant for numerous exhibitions and projects involving Native American art and culture.
Colin Calloway - Institute Director and John Kimball, Jr. 1943 Professor of History and Professor of Native American Studies. He received his Ph.D. from the University of Leeds in England in 1978. After moving to the United States, he taught high school in Springfield, Vermont, served for two years as associate director and editor of the D'Arcy McNickle Center for the History of the American Indian at the Newberry Library in Chicago, and taught for seven years at the University of Wyoming. He has been associated with Dartmouth since 1990 when he first came as a visiting professor. He became a permanent member of the faculty in 1995. Professor Calloway has written many books on Native American history, including: One Vast Winter Count: The Native American West Before Lewis and Clark (University of Nebraska Press, 2003; winner of six "best book" awards); First Peoples: A Documentary Survey of American Indian History (Bedford/St. Martins, 1999, 2004); New Worlds for All: Indians, Europeans, and the Remaking of Early America (Johns Hopkins University Press, 1997); The American Revolution in Indian Country (Cambridge University Press, 1995); The Western Abenakis in Vermont (University of Oklahoma Press, 1990); The Abenaki (Chelsea House, 1989); and Crown and Calumet: British-Indian Relations, 1783-1815 (University of Oklahoma Press, 1997); and The Scratch of a Pen: 1763 and the Transformation of North America, published by Oxford University Press.
Melanie Benson (Herring Pond Wampanoag) is Assistant Professor of English and Native American Studies at Dartmouth. Her work explores the effects of capitalist and colonialist logic on the lives, language, and cultural productions of marginalized peoples throughout the Americas. Her first book, Disturbing Calculations: The Economics of Identity in Postcolonial Southern Literature, 1912-2002 (University of Georgia Press, 2008), examines the 20th century South’s enduring capitalist trauma, begun under slavery and echoed in the modern free market. Currently, she is at work on two new book projects: Reconstructing the Native South examines overlooked Native American literature in the contemporary Southeast, and A Beautiful Nothing takes a broader look at the discursive and corporeal effects of American capitalism nationwide.
Janet Catherine Berlo is Professor of Art History and Visual and Cultural Studies at the University of Rochester. She holds a Ph.D. in history of art from Yale University, and is a scholar of Native American art history and womens textile arts. Berlo’s many books include Spirit Beings and Sun Dancers: Black Hawk’s Vision of a Lakota World (2000), Native North American Art (1997, with Ruth Phillips), and the exhibition catalogues Plains Indian Drawings 1865-1935: Pages from a Visual History (1996). She co-authored American Encounters: Art, History and Cultural Identity (2008) with Angela Miller, Bryan Wolf and Jennifer Roberts. Berlo has taught Native American art history as a visiting professor at Harvard, Yale, and UCLA, and has received grants for her scholarly work on Native art from the Guggenheim Foundation, the Getty Foundation, and the National Endowment for the Humanities.
Mary Coffey is Associate Professor in the Art History Department at Dartmouth. She specializes in the history of modern Mexican visual culture, with an emphasis on Mexican muralism and the politics of exhibition. She also publishes in the fields of American art, Latin American cultural studies, and Museum Studies. She has published essays on a broad range of visual culture, from Mexican folk art to motorcycles to eugenics exhibitions. Mary Coffey is currently completing a book manuscript entitled How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (forthcoming, Duke University Press). This book offers the first study of the reciprocal relationship between Mexican muralism and Mexican museum practice. Her latest publication is "I’m not the Fourth Great One’: Rufino Tamayo and Mexican Muralism," in Tamayo: A Modern Icon Reinterpreted, ed. Diana du Pont (Santa Barbara: Santa Barbara Museum of Art, 2007), 247-267.
Mike Cowdrey author of Arrow's Elk Society Ledger: A Southern Cheyenne Record of the 1870s, and (with Ned & Jody Martin) American Indian Horse Masks, has had a life-long interest in the arts and culture of Plains Indian people. Areas of particular focus include: constellation patterns used as templates for artistic depictions, such as protective designs on war shields; the inter-relationship of zoology, meteorology and astronomy in creating Plains Indian cosmologies; and North American cosmic catastrophes which have been documented in Plains Indian histories, mythology and art. His study of American Indian horse gear, and revolutionary reappraisal of the chronology of horse diffusion in North America, Beaded and Quilled Bridles of the American Indians, will be published in June, 2011, by Hawk Hill Press. Photo by Ned Martin.
Chris Dueker is a doctoral student in the Department of Art History at Columbia University, where he is completing his Ph.D. thesis on the art of modernist painter and muralist Alex Janvier (Dene, b. 1935 - ). He has presented several papers on Janvier’s work at past Native American Art Studies Association conferences; his essay entitled Alex Janvier’s Entangled Cartographies: Hunter’s Dreams, Bauhaus Aesthetics, and the Cold Lake Air Weapons Range has been accepted for publication in the journal, Art History.
Bruce Duthu is professor and Chair of Native American Studies at Dartmouth. His area of expertise is American law relating to tribal sovereignty and political relations with sate and federal government. His latestes publications include American Indians and the Law (2008), "Commentary: Reconciling Our Memories in Order to Re-envision Our Future," in Intercultural Dispute Resolution in Aboriginal Contexts, ed. C. Bell and D. Kahane (2004), 232-237 and "Incorporative Discourse in Federal Indian Law: Negotiating Tribal Sovereignty Through the Lens of Native American Literature," Harvard Human Rights Journal 13 (2000), 141-190.
Michael Jordan is a PhD Candidate in Sociocultural Anthropology at the University of Oklahoma. He has conducted research on the ethnohistory and expressive culture of the Kiowa Tribe of Oklahoma for over a decade. His current research is supported by grants from the Wenner-Gren Foundation and the National Science Foundation. His dissertation, tentatively titled Descendants Organizations and Cultural Heritage in Kiowa Society, explores the intersection of intellectual property rights, material culture, heritage and historical consciousness. Michael is a curatorial assistant in the Ethnology Division at the Sam Noble Oklahoma Museum of Natural History. He is also a member of the editorial board of Museum Anthropology Review, a peer-reviewed journal of museum and material culture studies.
Vera B. Palmer came to Dartmouth from Cornell University in 1999 to assume the new mentoring position with the NAS Program. She has also taught "Contemporary Native American Literature," "Contemporary Native American Poetry," "Perspectives in Native American Studies," and "Bear Clan Texts-Senior Seminar." During winter '08, she taught "Native American Oral Traditions Literature." She was awarded Dartmouth's Eastman Dissertation Fellowship in April, 2000. Her dissertation, Bringing Kateri Home: Restoring a Cultural Narrative of an Iroquoian Saint, considers the Jesuit hagiography of Mohawk Christian ascetic, Kateri Tekakwitha. Her work proposes an indigenous account of loss and historical grief employing perspectives and principles of the Iroquoian Condolence tradition.
Mary Peterson Zundois Ph.D. candidate in American art history at the University of Illinois, Urbana-Champaign, where she also earned an MA in art history and an MFA in printmaking. She has taught art history at the University of Illinois and Purdue University and has served as guest curator at the UI Krannert Art Museum. Her dissertation, Mapping Destiny: Cartography and 19th-Century American Art of the Frontier, explores the interwoven roles of map-making, images, and intercultural encounter on the American Plains in constructing notions of nationhood and empire. She has been a fellow at the Smithsonian American Art Museum, the Newberry Library, the Autry National Center, and Southwest Museum of the American Indian.
Jenny Tone-Pah-Hote (Kiowa) is currently a Postdoctoral Research Associate in American Studies at the University of North Carolina. While at UNC, she will begin preparing a book manuscript based on her dissertation, “Envisioning Nationhood: Kiowa Expressive Culture, 1875-1939.” She argues that Kiowa men and women engaged expressive culture (such as beadwork, metalwork, painting and dance) as a location to discuss and present ideas about their nation. Jenny received her doctoral degree in American Indian and modern U.S. history from the University of Minnesota in 2009.
Dale Turner is Associate Professor of Native American Studies and Government at Dartmouth. His research interests are social and political philosophy, Amerindian philosophy, philosophy of law and early modern political philosophy. His latest publications include "What is Native American Philosophy?: Towards a Critical Indigenous Philosophy," in The Nature of Philosophy: Whose Knowledge? Which Tradition? ed. George Yanncy, (forthcoming, Rowman & Littlefield) and This is not a Peace Pipe: Towards a Critical Indigenous Philosophy (University of Toronto Press, 2006).
Katherine Hart Associate Director and the Barbara C. and Harvey P. Hood 1918 Curator of Academic Programming, has been at the Hood Museum of Art since 1990. She serves as head of the museum’s curatorial and collection management departments, works with the director on contemporary art projects and acquisitions, and is the museum’s liaison to faculty and students. She was the curatorial coordinator for the museum’s recent major exhibition Coming of Age in Ancient Greece: Images of Childhood from the Classical Past (2003), which traveled to several institutions including the J. Paul Getty Museum and also of other major traveling exhibitions organized by the Hood. She has served as the curator of a number of Hood Museum of Art exhibitions, including Romare Bearden: Collages; Regional Selections: 1996; The Body and Its Image: Art, Technology, and Medical Knowledge; Mel Kendrick : Core Samples; and most recently co-curator of Protest in Paris: Photographs by Serge Hambourg. She was co-curator of A Gift to the College: The Mr. and Mrs. Adolph Weil Jr. Collection of Master Prints. She also organized and authored the exhibition catalogue for James Gillray: Prints by the 18th-Century Master of Caricature. In the area of Native American art and studies, she has worked with colleagues overseeing the documentation on the ledger drawing collection and also was the staff member responsible for bringing Reservation X: The Power of Place in Aboriginal Contemporary Art to Dartmouth.
Ben Madley earned his PH.D. In history at Yale University in 2009, where his dissertation, American Genocide: The California Indian Catastrophe, 1846-1873, won the Frederick W. Beinecke Dissertation Prize. Ben is the author of several articles including "California's Yuki Indians: Defining Genocide in Native American History." He is currently an Andrew W. Mellon Postdoctoral Fellow at Dartmouth, where he teaches History and Native American Studies.
Karen Miller, Assistant Curator for Special Projects at the Hood Museum of Art at Dartmouth College , is overseeing its 2010 ledger art exhibitions, as well as Native American Art at Dartmouth: Highlights from the Hood Museum of Art, on view October 8, 2011- March 12, 2012. In 2008-2009 she served as project manager of the Hood's Felix de la Concha: Private Portraits/Public Conversations. Karen spent fifteen years in Alaska and wrote her MA thesis on the work of contemporary Inupiaq sculptor Susie Qimmiqsak Bevins.
Last Updated: 2/5/11