Edward S. Curtis byl uzn\u00e1van\u00fd fotograf, kter\u00fd zasv\u011btil sv\u016fj \u017eivot dokumentov\u00e1n\u00ed \u017eivota domorod\u00fdch Ameri\u010dan\u016f. V letech 1907 a\u017e 1930 cestoval rozs\u00e1hle po Severn\u00ed Americe a po\u0159\u00eddil p\u0159es 40 000 sn\u00edmk\u016f lid\u00ed z v\u00edce ne\u017e 80 r\u016fzn\u00fdch kmen\u016f. Curtisova pr\u00e1ce zahrnovala nejen fotografie, ale tak\u00e9 z\u00e1znamy domorod\u00fdch p\u00edsn\u00ed na voskov\u00fdch v\u00e1le\u010dc\u00edch a p\u00edsemn\u00e9 z\u00e1znamy p\u0159\u00edb\u011bh\u016f, historie a biografi\u00ed.<\/p>\n\n
Curtisov\u00fdm nejambici\u00f3zn\u011bj\u0161\u00edm projektem byla 20d\u00edln\u00e1 s\u00e9rie s n\u00e1zvem \u201eThe North American Indian\u201c. Toto monument\u00e1ln\u00ed d\u00edlo bylo oslavov\u00e1no jako \u201enejambici\u00f3zn\u011bj\u0161\u00ed vydavatelsk\u00fd po\u010din od doby vzniku Bible kr\u00e1le Jakuba\u201c. Dnes je p\u0159es 1 000 Curtisov\u00fdch sn\u00edmk\u016f k dispozici online prost\u0159ednictv\u00edm Knihovny Kongresu.<\/p>\n\n
A\u010dkoli byla Curtisova pr\u00e1ce chv\u00e1lena za svou um\u011bleckou hodnotu a p\u0159\u00ednos k dokumentov\u00e1n\u00ed kultury domorod\u00fdch Ameri\u010dan\u016f, tak\u00e9 \u0161\u00ed\u0159ila ur\u010dit\u00e9 stereotypy. Curtis \u010dasto zobrazoval domorod\u00e9 Ameri\u010dany jako stoick\u00e9 a mizej\u00edc\u00ed, co\u017e posilovalo m\u00fdtus, \u017ee jsou vym\u00edraj\u00edc\u00ed rasou. Jeho sn\u00edmky ovliv\u0148ovaly zp\u016fsob, jak\u00fdm mnoz\u00ed Ameri\u010dan\u00e9 pohl\u00ed\u017eeli na domorod\u00e9 obyvatele po cel\u00e1 desetilet\u00ed.<\/p>\n\n
V posledn\u00edch letech zpochybnili sou\u010dasn\u00ed domorod\u00ed ameri\u010dt\u00ed um\u011blci Curtis\u016fv odkaz a sna\u017eili se p\u0159edstavit mnohem jemn\u011bj\u0161\u00ed a autenti\u010dt\u011bj\u0161\u00ed ztv\u00e1rn\u011bn\u00ed sv\u00e9ho lidu. Tito um\u011blci, jako jsou Pamela J. Peters, Zig Jackson, Wendy Red Star a Will Wilson, vyu\u017e\u00edvaj\u00ed fotografii, multim\u00e9dia a dal\u0161\u00ed um\u011bleck\u00e9 formy k prozkoum\u00e1v\u00e1n\u00ed ot\u00e1zek identity, kultury a reprezentace.<\/p>\n\n
Pamela J. Peters, fotografka a filma\u0159ka z kmene Navajo, tvrd\u00ed, \u017ee Curtisovy stereotypy p\u0159etrv\u00e1vaj\u00ed dodnes. Svou pr\u00e1ci vyu\u017e\u00edv\u00e1 k tomu, aby tyto stereotypy zpochybnila a znovu z\u00edskala svou vlastn\u00ed historii. Ve sv\u00e9 s\u00e9rii autoportr\u00e9t\u016f \u201eFour Seasons\u201c m\u00e1 Peters na sob\u011b tradi\u010dn\u00ed od\u011bv, ale p\u0159i bli\u017e\u0161\u00edm zkoum\u00e1n\u00ed div\u00e1k m\u016f\u017ee vid\u011bt, \u017ee pozad\u00ed je p\u0159ipevn\u011bno pomoc\u00ed \u0161pendl\u00edk\u016f, zv\u00ed\u0159ata jsou nafukovac\u00ed hra\u010dky a celof\u00e1n se pou\u017e\u00edv\u00e1 k evokaci vody. Prost\u0159ednictv\u00edm sv\u00e9ho um\u011bn\u00ed Peters vyd\u00e1v\u00e1 siln\u00e9 prohl\u00e1\u0161en\u00ed o znovuz\u00edsk\u00e1n\u00ed sv\u00e9 vlastn\u00ed historie.<\/p>\n\n
Zig Jackson, zn\u00e1m\u00fd tak\u00e9 jako Rising Buffalo, je fotograf z kmen\u016f Mandan, Hidatsa a Arikara, jeho\u017e pr\u00e1ce je zn\u00e1m\u00e1 bour\u00e1n\u00edm stereotyp\u016f. Jeho s\u00e9rie \u201eIndian Photographing Tourist Photographing Indian\u201c a \u201eIndian Photographing Tourist Photographing Sacred Sites\u201c zpochyb\u0148uj\u00ed samotnou roli fotografie a komodifikaci kultury domorod\u00fdch Ameri\u010dan\u016f.<\/p>\n\n
Wendy Red Star je multimedi\u00e1ln\u00ed um\u011blkyn\u011b \u017eij\u00edc\u00ed v Portlandu, jej\u00ed\u017e pr\u00e1ce je ovlivn\u011bna jej\u00edm kulturn\u00edm d\u011bdictv\u00edm a v\u00fdchovou v rezervaci Aps\u00e1alooke. Jej\u00ed fotografie m\u00eds\u00ed stereotypn\u00ed a autentick\u00e9 sn\u00edmky, aby prozkoumaly ot\u00e1zky identity a kultury. Ve sv\u00e9 s\u00e9rii \u201eMedicine Crow\u201c Red Star upravuje zn\u00e1m\u00e9 sn\u00edmky slavn\u00e9ho domorod\u00e9ho americk\u00e9ho v\u016fdce pozn\u00e1mkami a dopl\u0148uj\u00edc\u00edmi informacemi a n\u011bkdy vytv\u00e1\u0159\u00ed spojen\u00ed se sebou samou.<\/p>\n\n
Will Wilson, fotograf z kmene Din\u00e9, se sna\u017e\u00ed nahradit portr\u00e9ty, kter\u00e9 po\u0159\u00eddil Curtis, svou vlastn\u00ed dokument\u00e1rn\u00ed mis\u00ed. Jeho pr\u00e1ce zahrnuje \u201eferrotypie\u201c, kter\u00e9 pom\u00e1haj\u00ed hr\u00e1t si s \u010dasem. Tak\u00e9 spolupracuje se sv\u00fdmi modely na tvorb\u011b sv\u00fdch portr\u00e9t\u016f, m\u00edsto aby jim na\u0159izoval, aby vypadali n\u011bjak\u00fdm ur\u010dit\u00fdm zp\u016fsobem.<\/p>\n\n
Pr\u00e1ce t\u011bchto sou\u010dasn\u00fdch domorod\u00fdch americk\u00fdch um\u011blc\u016f je z\u00e1sadn\u00ed pro boj proti stereotyp\u016fm a prosazov\u00e1n\u00ed mnohem jemn\u011bj\u0161\u00edho porozum\u011bn\u00ed kultu\u0159e domorod\u00fdch Ameri\u010dan\u016f. Prost\u0159ednictv\u00edm sv\u00e9ho um\u011bn\u00ed zpochyb\u0148uj\u00ed dominantn\u00ed vypr\u00e1v\u011bn\u00ed o domorod\u00fdch obyvatel\u00edch a nab\u00edzej\u00ed nov\u00e9 perspektivy na jejich historii, identitu a zku\u0161enosti.<\/p>","protected":false},"excerpt":{"rendered":"
Edward S. Curtis a odkaz domorod\u00e9 americk\u00e9 fotografie Edward S. Curtis: Dokumentov\u00e1n\u00ed \u017eivota domorod\u00fdch Ameri\u010dan\u016f Edward S. Curtis byl uzn\u00e1van\u00fd fotograf, kter\u00fd zasv\u011btil sv\u016fj \u017eivot dokumentov\u00e1n\u00ed \u017eivota domorod\u00fdch Ameri\u010dan\u016f. V…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[1991,540,63,1990,1992,1993],"class_list":["post-838","post","type-post","status-publish","format-standard","hentry","category-photography","tag-edward-s-curtis","tag-identity","tag-culture","tag-native-american-photography","tag-contemporary-native-american-art","tag-stereotypes"],"_links":{"self":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/838","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/comments?post=838"}],"version-history":[{"count":1,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/838\/revisions"}],"predecessor-version":[{"id":839,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/838\/revisions\/839"}],"wp:attachment":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/media?parent=838"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/categories?post=838"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/tags?post=838"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}