Just as Rachel Dolezal's position at the NAACP did not give her a pass to misidentify herself as African American, neither should Jimmie Durham's work on behalf of Native people be confused with confirmation of his tribal affiliation.
The fact that I—like so many others—was oblivious to the extraordinary claims of “ethnic fraud” in Durham’s narrative raises troubling questions about who gets to write art history, about the effectiveness of our archives, and about whose voices are amplified and whose are ignored.
The N-Files Similar to how Dornith Doherty explores the intricacies of seeds and other plant life using x-ray in the exhibition Dornith Doherty: Archiving Eden, W. A. "Snowflake" Bentley (1865–1931) used photomicrography to reveal the beautiful geometry of the snow crystal. For fifty years he photographed this ephemeral and delicate natural form, producing a large […]
We recently enjoyed an opportunity to collaborate with Texas Christian University. We have been digitizing our archives, and often the papers we’re working with are difficult to decipher due to age, condition, media, and orthography. The students in Dr. Theresa Gaul's American Literature seminar class transcribed our 200-year-old Andrew Bulger Papers, and they made some […]
This morning, the Washington Post reported that many of the remaining members of the White House Committee on the Arts and Humanities have announced their resignation. In a letter to the president, 16 actors, artists, writers, and architects said that … Read More