Intra-Colonial Spaces: Desire and Displacement in Images of Indian Territory, the Hawai’ian Islands, and New Mexico Territory, 1885-1920

Peck, James

Intra-Colonial Spaces: Desire and Displacement in Images of Indian Territory, the Hawai’ian Islands, and New Mexico Territory, 1885-1920

dc.contributor.advisor	Haltman, Kenneth
dc.contributor.author	Peck, James
dc.contributor.committeeMember	Metcalf, Warren
dc.contributor.committeeMember	Watson, Mary Jo
dc.contributor.committeeMember	Price, B. Byron
dc.contributor.committeeMember	Rushing III, W. Jackson
dc.contributor.committeeMember	Fields, Alison
dc.date.accessioned	2016-12-09T14:28:37Z
dc.date.available	2016-12-09T14:28:37Z
dc.date.issued	2016
dc.date.manuscript	2016-12-02
dc.description.abstract	Depending primarily on image analysis, this dissertation considers a heretofore understudied artistic construct, the American intra-colonial aesthetic. Produced as a byproduct of displaced American colonialist desires near the turn of the twentieth century, the visual practices used to achieve this aesthetic were flexible and multivalent, and included the use of visual erasure or displacement of indigenous peoples; the use of Euro-American visual surrogates, or placeholders who visually appropriate the land; the depiction of indigenous peoples as existing only in the ethnographic present; and the appropriation of natural resources into a non-indigenous epistemology. In addition, indexicality, a meta-narrative element that suggests the limits of ideology in art-making, is examined. This analysis locates the American intra-colonial aesthetic through three different cases studies of marginalized contact zones within the burgeoning American empire, circa 1885-1920 – Indian Territory, the Hawaiian Islands, and New Mexico Territory. While each chapter makes a different argument about the nature, scope, and characteristics of the intra-colonial aesthetic, the arguments are highly inter-related and depend upon, and strengthen, one another. Methodologically, I privilege images as primary historical documents, foregrounding my belief that art remain the first and best evidence for the art historian. Finally, I apply Edward Said’s concept of the Orient, and its inverse, the Occident, as theoretical constructions. As such, images and texts made by Euro-Americans concerned with colonial desire are counterbalanced by images and texts made by indigenous peoples concerned with native survival and sovereignty.	en_US
dc.identifier.uri	http://hdl.handle.net/11244/47020
dc.language	en_US	en_US
dc.rights	Attribution-NonCommercial-NoDerivs 3.0 United States	*
dc.rights.uri	http://creativecommons.org/licenses/by-nc-nd/3.0/us/	*
dc.subject	Resistance	en_US
dc.subject	Colonialism	en_US
dc.subject	New Mexico	en_US
dc.subject	Art	en_US
dc.subject	Hawaii	en_US
dc.subject	Indian Territory	en_US
dc.thesis.degree	Ph.D.	en_US
dc.title	Intra-Colonial Spaces: Desire and Displacement in Images of Indian Territory, the Hawai’ian Islands, and New Mexico Territory, 1885-1920	en_US
ou.group	Weitzenhoffer Family College of Fine Arts::School of Art and Art History	en_US