Edward S. Curtis - Controversy

Controversy

Curtis has been praised as a gifted photographer but also criticized by professional ethnologists for manipulating his images. Curtis' photographs have been charged with misrepresenting Native American people and cultures by portraying them in the popular notions and stereotypes of the times. Although the early twentieth century was a difficult time for most Native communities in America, not all natives were doomed to becoming a "vanishing race." At a time when natives' rights were being denied and their treaties were unrecognized by the federal government, many natives were successfully adapting to western society. By reinforcing the native identity as the noble savage and a tragic vanishing race, some believe Curtis detracted attention from the true plight of American natives at the time when he was witnessing their squalid conditions on reservations first-hand and their attempt to find their place in Western culture and adapt to their changing world.

In many of his images Curtis removed parasols, suspenders, wagons, and other traces of Western material culture from his pictures. In his photogravure In a Piegan Lodge, published in The North American Indian, Curtis retouched the image to remove a clock between the two men seated on the ground.

He also is known to have paid natives to pose in staged scenes, wear historically inaccurate dress and costumes, dance and partake in simulated ceremonies. In Curtis' picture Oglala War-Party, the image shows 10 Oglala men wearing feather headdresses, on horseback riding down hill. The photo caption reads, "a group of Sioux warriors as they appeared in the days of inter tribal warfare, carefully making their way down a hillside in the vicinity of the enemy's camp." In truth headdresses would have only been worn during special occasions and, in some tribes, only by the chief of the tribe. The photograph was taken in 1907 when natives had been relegated onto reservations and warring between tribes had ended. Curtis paid natives to pose as warriors at a time when they lived with little dignity, rights, and freedoms. It is therefore suggested that he altered and manipulated his pictures to create an ethnographic simulation of Native tribes untouched by Western society.

In fact, it is doubtful that Curtis did anything disreputable or intentionally misleading considering his lifelong diligence to this art. His obvious intention was to showcase the American Indian in "their own element" as accurately as possible which provided the only credible motive to his removing Western materials, e.g. "a clock", from his photographs which were out of place anachronistically with "pure" Indian culture. The same motivation can be applied to costuming and posing of the native Americans which, contrary to his intention of exposé, gave the impression of idealism beyond his actual intention of realism, albeit euphemistic.

One of the more balanced reviews of The North American Indian comes from Mick Gidley, Emeritus Professor of American Literature, at Leeds University, in England, who has written a number of works related to the life of Edward S. Curtis: "The North American Indian-extensively produced and issued in a severely limited edition-could not prove popular. But in recent years anthropologists and others, even when they have censured what they have assumed were Curtis' methodological assumptions or quarrelled with the text's conclusions, have begun to appreciate the value of the project's achievement: exhibitions have been mounted, anthologies of pictures have been published, and The North American Indian has increasingly been cited in the researches of others... The North American Indian is not monolithic or merely a monument. It is alive, it speaks, if with several voices, and among those perhaps mingled voices are those of otherwise silent or muted Indian individuals.”

Of the full Curtis opus N. Scott Momaday says: “Taken as a whole, the work of Edward S. Curtis is a singular achievement. Never before have we seen the Indians of North America so close to the origins of their humanity...Curtis’ photographs comprehend indispensable images of every human being at every time in every place”

Don Gulbrandsen, who wrote Edward Sheriff Curtis: Visions of the First Americans, puts it this way in his introductory essay on Curtis’ life: “The faces stare out at you, images seemingly from an ancient time and from a place far, far away…Yet as you gaze at the faces the humanity becomes apparent, lives filled with dignity but also sadness and loss, representatives of a world that has all but disappeared from our planet.”

In Shadow Catcher: The Life and Work of Edward S. Curtis, Laurie Lawlor reveals that “many Native Americans Curtis photographed called him Shadow Catcher. But the images he captured were far more powerful than mere shadows. The men, women, and children in The North American Indian seem as alive to us today as they did when Curtis took their pictures in the early part of the twentieth century. Curtis respected the Indians he encountered and was willing to learn about their culture, religion and way of life. In return the Indians respected and trusted him. When judged by the standards of his time, Curtis was far ahead of his contemporaries in sensitivity, tolerance, and openness to Native American cultures and ways of thinking.”

Theodore Roosevelt, who was one of Curtis' contemporaries and one of his most strident supporters, wrote the following comments in the foreword to Volume I of The North American Indian:

In Mr. Curtis we have both an artist and a trained observer, whose work has far more than mere accuracy, because it is truthful. …because of his extraordinary success in making and using his opportunities, has been able to do what no other man ever has done; what, as far as we can see, no other man could do. Mr. Curtis in publishing this book is rendering a real and great service; a service not only to our own people, but to the world of scholarship everywhere.