Oscar Howe

#NativeAmericanHeritageMonth

Oscar Howe (1915–1983), a Yanktonai Dakota artist, reshaped Native American art through his stylistic innovations and defiance of institutionalized stereotypes. Rooted in his cultural heritage yet modernist in execution, Howe’s work and advocacy continue to inspire generations of artists.

Born on the Crow Creek Reservation in South Dakota, Oscar Howe was named Mazuha Hokshina ("Trader Boy"). Raised by his grandmother, Shell Face, Howe grew up immersed in Dakota traditions and storytelling, which later influenced his work. His formal education began at the Santa Fe Indian School, where he studied the "Studio Style" under Dorothy Dunn. This method emphasized flat, two-dimensional forms and traditional subjects, but Howe found it restrictive, later rejecting it as inadequate for expressing the complexity of his vision (Ash-Milby 12; “Oscar Howe,” National Museum of the American Indian).

After serving in World War II, Howe earned a B.A. from Dakota Wesleyan University and an M.F.A. from the University of Oklahoma. These academic pursuits expanded his artistic vocabulary, blending modernist principles with traditional Northern Plains aesthetics (Ash-Milby 15).

Howe’s art combines traditional Dakota cultural elements with modernist abstraction. He drew inspiration from the geometric patterns of Northern Plains hide painting and quillwork but reinterpreted these forms in dynamic and layered compositions.

Howe worked primarily with casein on paper, using this medium to create vibrant, textural works. His paintings often depict fragmented, angular figures to evoke movement and spiritual energy (Ash-Milby 19).

Sacro-Wi-Dance (1965) portrays the Sun Dance ceremony using abstract, angular forms to suggest spiritual transcendence. The sun radiates energy, symbolizing renewal and humanity’s connection to the cosmos (Ash-Milby 20; “Oscar Howe Biography,” University of South Dakota Art Galleries).

Fighting Bucks (1967) uses sharp, intersecting lines and vibrant colors to depict two deer in conflict. The piece reflects the Dakota worldview of balance and struggle in nature (Ash-Milby 22).

Umine Dance (1958) emphasizes the cyclical nature of Dakota ceremonies, with rhythmic repetition and overlapping forms conveying unity and movement (University of South Dakota Galleries).

Howe’s abstraction allowed him to move beyond literal representation, instead focusing on the emotional and spiritual essence of his subjects. His fragmented forms echo Dakota cosmology, where physical and spiritual realms intertwine (Ash-Milby 25).

In 1958, Howe submitted a painting to the Philbrook Art Center's Indian Annual Competition. It was rejected for being "non-traditional." Howe responded with a now-famous letter, writing:

“Are we to be held back forever with one phase of Indian painting that is the most common and most well-known? Are we to be pushed back into the background and held down eternally? Who is qualified to say what is Indian?”

This letter challenged narrow definitions of Native art and emphasized the right of Indigenous artists to innovate. Howe’s defiance is credited with influencing institutions to accept diverse expressions of Native art (Ash-Milby 26; “Oscar Howe,” National Museum of the American Indian).

Oscar Howe’s rejection of stereotypes and his pioneering use of abstraction paved the way for the Native American Fine Arts Movement. Artists like Fritz Scholder (Luiseño) and T.C. Cannon (Kiowa-Caddo) expanded on Howe’s work, blending cultural heritage with modernist themes and addressing contemporary issues.

Through his teaching at the University of South Dakota and initiatives like the Oscar Howe Summer Art Institute, Howe inspired young Native artists to embrace their cultural identities while pushing artistic boundaries. His influence is celebrated in exhibitions such as Dakota Modern: The Art of Oscar Howe, which underscores his enduring impact on Native and modern art (Ash-Milby 30; University of South Dakota Galleries).

Howe’s achievements earned him numerous accolades, including the South Dakota Governor’s Award for Creative Achievement. His work is preserved and celebrated at institutions like the Oscar Howe Art Gallery at the University of South Dakota. By bridging the gap between tradition and innovation, Howe’s legacy continues to resonate as a profound expression of cultural resilience and artistic excellence (“Oscar Howe Biography,” University of South Dakota Art Galleries).

References:

Ash-Milby, Kathleen. Dakota Modern: The Art of Oscar Howe. National Museum of the American Indian, 2022.

Oscar Howe Biography. University of South Dakota Art Galleries. www.usdartgalleries.com.

Oscar Howe. National Museum of the American Indian. Smithsonian Institution. https://americanindian.si.edu.