Outside the Frame: Where is the Native Story in American Art?

Painting of a green landscape with the sun shining down.
Wyoming Valley, Pennsylvania. Source: The Met, Creative Commons

On Monday, March 9th, the Institute for Human Rights co-sponsored an event alongside College of Arts & Sciences and Abroms-Engel Institute for the Visual Arts (AEIVA) to present a panel discussion with Dr. Deidra Suwanee (Director/Tribal Archivist – Poarch Band of Creek Indians), Dr. Tina Kempin Reuter (Director – Institute for Human Rights, UAB), Oakleigh Pinson (Guest Co-Curator – Focus IV Exhibition, AEIVA), and moderator John Fields (Senior Director – AEIVA). During their discussion, they addressed the Native erasure from American art and pathways to greater representation.

The discussion began with mention of Manifest Destiny, which were the events that led to the removal of Natives throughout North America. This effort was influenced by the ‘doctrine of discovery’ that painted non-Christians as pagans and, thus, targets of oppression. The Indian Removal Act of 1830 affected tribes throughout the Southeast, namely the Poarch Creek Indians who are the only federally recognized Native tribe in the state of Alabama.

Thus, many works of art in U.S. museums do not include depictions of Natives. In contrast, many paintings of the American frontier include landscapes without people, although sometimes incorporating wildlife, which conveys the message that this land was simply there for the taking. These portrayals also hide behind the altered and destroyed scared sites that were once home to millions of Natives.

Woman with a ceremonial indigenous dress presents artwork as onlookers listen.
Dr. Suwanee presenting art to the audience. Source: UAB Institute for Human Rights

Such treatment has resulted in harsh living conditions where nearly a quarter of the U.S. Native population reside on tribal lands riddled with unemployment, inadequate housing, and limited facilities. These conditions serve as a harvest ground for poor access to resources that translate to health disparities related to heart disease, suicide, tuberculosis, etc. Native women are particularly at-risk in these harsh conditions because thousands every year go missing or are found murdered, thus inspiring the #AmINext awareness campaign in Canada.

During the Q&A segment, an audience member asked if this type of art could be considered propaganda. Dr. Suwanee suggested that suppression of art is a red flag because it limits expression, although she then claimed that art can also be created to facilitate social change. The conversation then evolved into a discussion about film depictions of Natives and the involvement of indigenous peoples in the United Nations. These sentiments centered on the general theme that Native representation is not only missing in art but also popular culture and politics.

Ultimately, the erasure of Native perspectives whitewashes what is to be told and understood. As such, it is imperative these wrongs are corrected through fair representation of Natives in the media and political arena. Recognizing the rights of indigenous peoples not only brings us closer to the full realization of human rights but also prevents history from painting with a broad brush.

Golf and Life Lessons: The Dennis Walters Story

On Wednesday, February 5th, the Institute for Human Rights co-sponsored an event alongside College of Arts and Sciences and Lakeshore Foundation to present World Golf Hall of Fame inductee Dennis Walters. During his lecture, he addressed his passion for golf, experience with disability, and journey of perseverance.

Raised in New Jersey and playing college golf at the University of North Texas, Walters had dreams of being on the PGA Tour. Amid his burgeoning career as a professional golfer, Walters experienced a golf cart accident that left him paralyzed from the waist-down. Following the accident, Walters underwent four months of excruciating rehabilitation, peering at the golf course across the street with a desire to drive a ball across the green. Although his doctor claimed he would no longer play golf, but Walters’ vision suggested otherwise.

Following his rehabilitation, Walters moved back home with his parents in New Jersey while he became accustomed to his new way of life. One day, he finally mustered the courage to swing a golf club. With help from his father, they had a makeshift system that included a pillow, waist strap, rope, and a tree to assist with Walters’ swing. As a result, Walters was hitting golf balls as he did before which kept his golfs dreams alive. The first time Walters played on a course after his accident, he received cheering support from fellow golfers and, soon after, a re-purposed bar stool for his golf cart. Thus, The Dennis Walters Golf Show was born.

However, not everyone was originally thrilled about Walters’ show. After his father wrote a letter to Jack Nicklaus and told him of his son’s ambition, Walters’ career took off. Although Walter’s show is not just any golf exhibition, it’s a performance! His show includes golf shots with a three-headed club, fishing rod, radiator hose, gavel, left-handed club, crooked club, and tall tee as well some bad jokes and a four-legged sidekick. After more than 40 years, Walters has traveled over 3 million miles and done over 3,000 golf shows for fans near and far.

Walters exclaimed, “There’s no expiration date on your dreams” and offered the crowd his five P’s for success:

    1. Preparation (establish a plan)
    2. Perspiration (hard work pays off)
    3. Precision (stay focused)
    4. Passion (live what you do)
    5. Perseverance (stay on the path or else the other four don’t matter)
This is a picture of Walters posing with members of UAB Men's and Women's Golf teams.
Walters with members UAB Men’s and Women’s Golf teams. Source: UAB Institute for Human Rights

Walters asked himself, “Why have this dream?”. At times, he felt entirely hopeless about golfing again. However, golf was like therapy to him, both mentally and physically, which he claimed was better than medicine. He then closed by expressing, “The good about golf is the people you know”, which highlights the importance of inclusion and acceptance of people with disabilities on and off the green.