The large-scale retrospective exhibition Jimmie Durham: At the Center of the World (re)introduced self-identified “Cherokee” artist Jimmie Durham to a mainstream audience. Despite efforts in the 1990s to unmask the impostor, who has no known or recognized tribal affiliation, once again Durham was occupying space as a Native artist in the art world. This article addresses larger issues that face the field of Native art and Native representation in museums as a whole, offering personal reflections and a brief review of the exhibition as well as a biographical overview of the artist.
Skip Nav Destination
Research Article| October 20 2020
- Views Icon Views
- Share Icon Share
- Search Site
Ashley Holland; At the Center of the Controversy: Confronting Ethnic Fraud in the Arts. American Indian Culture and Research Journal 1 October 2019; 43 (4): 13–24. doi: https://doi.org/10.17953/aicrj.43.4.Holland
Download citation file:
Don't already have an account? Register
Citing articles via
A Chapter Closed?
Living in a (Schrödinger’s) Box: Jimmie Durham’s Strategic Use of Ambiguity
Suzanne Newman Fricke
The Artist Knows Best: The De-Professionalism of a Profession
Nancy Marie Mithlo