You have not been recognized as a subscriber to the WHQ online. About 176 words from this article are provided below; about 334 words remain.
 
If you are a individual subscriber to the Western Historical Quarterly, you may:
• login here if you have already registered for online access.
• Or if you're already logged in register your subscription.
• Set up your online account for the first time.

If you are not a subscriber to the Western Historical Quarterly, you can:
•  subscribe here.
• Purchase a research pass to gain two hour access to the entire History Cooperative web site. You will have full access to current issues of the Western Historical Quarterly (104.3-present). Note: the Research Pass does not provide access to JSTOR's holdings of the Western Historical Quarterly.

Instititutions can:
• Subscribe to this journal and receive print and electronic issues.
• Activate your existing subscription so that we recognize your IP number ranges.
| Book Review | Western Historical Quarterly, 32.1 | The History Cooperative
32.1  
Journals link Search link Partners link Information link
Spring, 2001
 
The Western Historical Quarterly

Table of contents
List journal issues
Home
Get a printer-friendly version of this page
 
 


Book Review


The Institute of American Indian Arts: Modernism and U. S. Indian Policy. By Joy L. Gritton. (Albuquerque: University of New Mexico Press, 2000. xv + 199 pp. Illustrations, notes, bibliography, index. $45.00, cloth; $19.95, paper.)

     From the tangled threads of international affairs, politics, economics, art, education, and individual agendas, Joy L. Gritton weaves a fabric delineating the twentieth-century historical and ideological origins and underpinnings of The Institute of American Indian Arts (IAIA). Her purpose is to provide an analysis to be used as a point of departure for developing theoretical and practical approaches to arts education for organizations that are attempting to meet the needs of a multicultural society. 1
     Opening in 1962, the IAIA has been described as a catalyst in the development of Native American art, an embodiment of revised U. S. Indian policy, and a paradigm for minority arts education. Gritton argues that in its inception, support, and functioning, the institute represented the convergence of socioeconomic, artistic, and political forces inimicable to Native American interests, art, and education. . . .


There are about 334 more words in this article. Please log in (or, if you are not yet an authorized user, please go to the User Setup page) to gain full access rights. Or if you're already logged in register your subscription.