Liz Romero had purchased beaded wallets from a Native wholesaler to sell in her shop and at a powwow, believing them to be authentic Native artwork. However, they turned out to be counterfeit made in India. This issue of counterfeit art is common among Native artists who rely on sales for their livelihood. The story highlights the challenges Native artists face in navigating the art world and the pressure they feel to create marketable traditional pieces.
The article delves into the history of Native art, from its exploitation by settlers for profit to the commodification of traditional crafts by tourism. The piece discusses the role of non-Native gatekeepers in defining Native art and the struggles Native artists face in breaking out of traditional molds. There is a growing movement among Native artists to reclaim their art and redefine what is considered “Indian enough”.
The article also explores the current state of the Native American Industrial Art Complex, which is a system that takes and sells art to benefit non-Native individuals and organizations. Many Native artists feel trapped by this system but are beginning to carve out their own paths to success through direct marketing and new platforms. The piece highlights the stories of several Native artists who are pushing the boundaries of what is considered traditional Native art and finding success on their own terms.
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