Marcia Crosby facts for kids

Marcia Crosby is a Canadian writer, art historian, and teacher. She is from the Tsimshian and Haida Indigenous groups.

About Marcia Crosby

Marcia Crosby grew up in what is now Prince Rupert. Her family comes from the Maxxtakxaata (Metlakatla, Alaska) and the Gisbutwaada (Killer Whale clan).

She studied at the University of British Columbia. She earned a Bachelor of Arts in Fine Arts and English in 1990. Then, she completed a Master of Arts in Cultural History in 1993. Her Master's work looked at how Indigenous cultures were shown in public. It also explored the art of Indigenous artists.

Later, she earned a PhD in Art History. Her PhD research focused on artists who called themselves 'modern Indian artists.'

Since 1996, Crosby has taught English literature and First Nations Studies. She taught at Vancouver Island University. She has also worked as a researcher. Her work often questions common ways of showing First Nations peoples and their history.

Her Work as a Curator

Marcia Crosby has helped organize art shows. In 1994, she was a guest curator and writer for an exhibit called "Nations in Urban Landscape." This show was at the Contemporary Art Gallery. It later traveled to Montreal in 1996.

Artists like Shelley Niro, Faye HeavyShield, and Eric Robertson were featured. The exhibit explored how land issues between Canadian and First Nations governments shaped art.

In 2008, Crosby joined a web project called "Ruins in Progress: Vancouver Art in the Sixties." This project was with the Morris and Helen Belkin Art Gallery. She wrote an essay for it called "Making Indian Art ‘Modern’."

In her essay, Crosby talked about the challenges for Indigenous artists. She explained that before the mid-1960s, there was little support for 'modern Indian' art. She wrote about artists like George Clutesi, Henry Speck, and David Neel. These artists wanted to be seen as modern artists in the 1960s.

In 2012, Crosby helped organize an art show with Karen Duffek. It was called "The Paintings of Henry Speck: Udz’stalis." Henry Speck (1908-1971) was a Kwakwaka’wakw artist. His paintings of dancers and sea creatures became famous in 1964. Crosby and Duffek discussed Speck's place in "Indian art" history.

In July 2013, Crosby gave a talk at the Contemporary Art Gallery (Vancouver). This talk was about Itee Pootoogook's exhibit "Buildings and Lands." Pootoogook's art showed modern northern life. It featured snowmobiles, boats, and TVs instead of traditional Inuit scenes. Crosby's talk explored how Aboriginal art is made in cities. She focused on how First Nations artists connect with new Indigenous groups.

The "Imaginary Indian" Idea

One of Marcia Crosby's important works is her essay, "Construction of the Imaginary Indian." This essay is in a book called "Academic Reading." In it, Crosby explains her goal. She wants to look at how people in arts and social sciences are now embracing 'difference.'

Crosby shares her own experiences at university. She felt uncomfortable when professors had fixed ideas about her. She wrote:

"At the time, I felt only the discomfort of being wedged between the limits of who my professor thought I was and what that person was capable of accomplishing."

She realized that a single 'Imaginary Indian' idea existed. This idea was a made-up version of Indigenous people. It served as a background for European history in North America. The 'Imaginary Indian' is a fictional idea of past and present Indigenous cultures. It was created by Western society.

Crosby argues that Western history often presents Indigenous people as needing to be 'saved.' This idea came from colonization. However, her essay is not all negative. She also writes that interest in Indigenous culture created a space for Native artists. This space allowed many First Nations people to talk about current social and political issues.

During her studies, Crosby researched artists who showed positive images of Native people. These included Paul Kane, Emily Carr, and Bill Reid.

Emily Carr's Art

Crosby looked closely at Emily Carr's art. Carr's paintings often showed the remaining parts of Indian culture, like totem poles. Crosby saw this as Carr's desire to record others. She questioned who the subjects in Carr's paintings really were.

Crosby suggests that Carr's paintings can be seen as records of old things. She argues that Carr was looking for a Canadian identity. Crosby believes it is not right for art historians to call Carr's comments a "statement of high moral purpose." This is especially true when First Nations people are fighting for their rights today.

Paul Kane's Work

In her essay, Crosby also discusses Paul Kane's work. Kane's writings and images showed ideas from the 1800s about Indigenous peoples. Crosby says that Kane's 'historical documents' still influence some art historians and government officials today.

However, Kane's work can be harmful to First Nations people. This is because his work helped justify denying Aboriginal rights. Kane suggested that being Indian meant being 'savage.' Crosby finds Kane's claims of being authentic problematic. Kane wanted his journals to be important for historians. Crosby points out that when a culture is shown as dying, people often feel they need to 'save' it. Kane's success depended on the idea that Indigenous people were 'primitive' and would disappear.

Bill Reid's Role

Bill Reid is presented as a key figure in the rebirth of Indian art. Crosby describes him as a Haida artist who was part of the "renaissance" of Northwest Coast Indian art. She notes that others also saw themselves as 'saviors' of Native culture.

Crosby examines how the media reacted to Indigenous cultures after World War II. She points out that Reid said he wanted his art to be seen as just "art," not "Indian art." Crosby responds to this by discussing the political meaning behind his art. She writes that Reid "actively supported the myth of the imminent death of the Indian." He did this by seeing himself as a hero and cultural savior.

Crosby argues that Reid's work fit into an idea. This idea was that the dominant culture had a right to care for a 'dying culture.' This 'dying culture' then became a collection of 'Indian artifacts' in museums. Crosby writes:

"The Indian was neatly contained within the institutional glass case, carefully locked away as a repository for the unthinkable or unspeakable parts of those who created it."

She believes Reid's work, like Carr's and Kane's, reinforced the idea of the artist as a myth. It also suggested that a culture was helpless.

In "Construction of the Imaginary Indian," Crosby lists people who helped her form her ideas. These include Linda Nochlin, Edward Said, and Trinh T. Minh-ha. Their critical voices helped her understand her discomfort.

Crosby's writing is not just about collecting and showing Indigenous people as objects. Her work comes from her personal experiences and connections. She has dedicated years to her education. This allows her to write with sensitivity about past and present cultures.

A quote from Marcia Crosby is included in a work called "The Implication of Restorative Justice for Aboriginal Women" (2001):

"I can hardly speak your words because I think you might not forgive me for telling the story you wanted kept a secret. Yes, some of our leaders, some of our old people and others on our communities want us to be quiet about life on our social and geographical reserves. They want us to be silent and if we are not we are not family. But your silence deadened me gram. This is about love and anger. This is about sadness and joy. About strength and total collapse of the spirit."

This quote shows how dedicated Crosby is to creating works that offer spirit, honor, and resistance.