![]() ![]() In lieu of a unitary account of authorship, I treat the posters as multivocal elements of a broader assemblage of people and objects that connected the Indigenous Americas to France between the wars. It further reconnects them to a variety of agents who collaborated in their production, circulation, and reception. 3ģ This essay reunites the traveling works on paper narratively as well as visually, in a digital gallery hosted by an Auburn University wordpress page. ![]() 2 Sitting unseen in storage for much of their history, the posters were severed from the transatlantic milieu that their makers bridged with paint. Four posters, at some point folded or cut to obscure the text from display, along with a portion of Paul Coze’s archive, were purchased at auction from a private collection by the Musée du quai Branly in 2015 (see A58–A61). Six posters remain at the Muséum national d’histoire naturelle in Paris (A52–57) the location of Houser’s rider, which was originally among them, is currently unknown. Fifty, most of which are in excellent condition, were acquired by the Museum of Contemporary Native Arts in Santa Fe through a grant from the Toyota Foundation in 1992 (see A2–A51). However, sixty-one of the posters have survived. Today, the paintings exhibited at the MET are known only by their reproduction in French magazines of the period. Houser and his classmates worked through the Easter holiday weekend, adding singular images of tipis, horses, gourd rattles and dancers in tempera paint (Dunn 281). To save time, the posters were printed at a local press in Santa Fe, which likely explains why accents are missing from the French words. Paul Coze (1903–1974), a Beirut-born Frenchman enamored of all things “Indienne,” sent a telegraph to the school requesting that some 200 posters be rushed to Paris to announce an exhibition of the students’ paintings that was scheduled to open there just three weeks later. He enrolled at the Studio School of the Santa Fe Indian School, a federally funded program dedicated to training Native American artists, the previous year. ![]() 3 MoCNA, the museum of the federally funded Institute of American Indian Arts that replaced the Santa (.)Ģ The Chiricahua Apache artist Allan Houser (1914–1994), who achieved fame in subsequent decades for his monumental bronze sculptures of Native American subjects, painted the equestrian in April 1935.2 This extensive material was formerly in the private collection of Daniel DuBois, a French designer (.).1 The subtext offers more clues to this unprecedented event: “Dessins des Eleves de l’Ecole Indienne de Santa Fe, Nouveau Mexique, Etats-Unis, presentes par le peintre, Paul Coze” (Drawings by students of the Santa Fe Indian School, New Mexico, United States, presented by the painter Paul Coze). The poster announced to pedestrians an exhibition of paintings by contemporary Native American artists, Art peau-rouge d’aujourd’hui (Redskin Art Today) at the Musée d’Ethnographie du Trocadéro (MET), on view from May 17 to June 23, 1935. Tiny pinholes in the corner of the paper attest to the period in which it hung, probably behind glass in a store window or on a marquee on the streets of Paris. The artist’s own underlined signature, Houser, is diminutive by comparison, tucked beneath the horse’s hooves. Yet the feathered lance gripped by the rider serves as a compositional bridge, cutting a sharp horizontal line as if to underscore the ponderous lettering of a name that hovers just above, Paul Coze. Hand-painted curves and colors contrast with the industrial precision of the printed words. ![]() The spiraled legs and streaming tail of the animal indicate that the pair moves at full gallop. Burns, Agathe Cabau, Cécile Roudeau, and two anonymous reviewers for guiding this (.)ġ Inside the worn edges of a single sheet of paper, a man on horseback wearing a headdress traverses an expanse between authoritative black lines of French text. Les étudiants, bien que ne pouvant pas voyager, revendiquaient ainsi – c’est l’hypothèse de cet article – un espace ouvert aux valeurs culturelles autochtones et à leur expérience de la modernité dans la capitale française. Encadrés par un texte français imprimé, les personnages qui peuplaient les affiches étaient engagés dans un jeu ludique à travers les rues, les musées et les différentes scènes de la ville, démontrant la porosité entre arts graphiques et arts de la scène. La collaboration entre les étudiants et Paul Coze, amateur français et ethnographe autodidacte, constituait l’élément dynamique d’un assemblage transatlantique comprenant objets autochtones et artistes amérindiens à Paris. Cet essai analyse soixante et une affiches peintes à la main par les étudiants de l’école-atelier de la Santa Fe Indian School et envoyées à Paris pour annoncer l’exposition de leurs œuvres au Musée d’Ethnographie du Trocadéro en 1935, une exposition intitulée Art peau-rouge d’aujourd’hui. ![]()
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