Oscar Howe, "Fleeing a Massacre"
Oscar Howe's "Fleeing a Massacre," itself a depiction of his grandmother's (Shell Face) narrative to him as a boy about her experiences. I read the painting as both art and history as well as a theoretical lens through which viewers might imaginatively undermine time as a linear passage. In doing so, Howe orients viewers toward thinking across time as a circling, albeit one with specific moments and connections. This will help, for instance, to conceptualize how one might flesh out the touchstones of changing litigation and contexts across both the US settler project and Yankton Dakota narratives and art.
Here we turn to Oscar Howe's painting in order to orient ourselves toward the cycling of time which ties together the atrocities of settler structures while not forgetting that it is the central Indigenous rider who moves the circle forward.
*Scroll over the image to engage with its annotations*
Here we turn to Oscar Howe's painting in order to orient ourselves toward the cycling of time which ties together the atrocities of settler structures while not forgetting that it is the central Indigenous rider who moves the circle forward.
*Scroll over the image to engage with its annotations*
