When we each independently began to research the largely overlooked United States national pavilion in 2018, we had little expectation that anyone else would be thinking about this topic. To date, scholarship on the 1937 International Exposition has been overshadowed by the dramatic confrontation between the hammer-and-sickle-bearing workers atop the Soviet pavilion and the Nazi eagle stationed opposite them. Thus, this account of Naquayouma’s role as a collaborator in 1937 is also an account of our own collaboration as researchers: with each other, with other scholars, and with the Hopi community, which is at its center. We start from here.” 3 Starting from now centers the ways in which the past circuitously surfaces in the present. As the longtime former director of the Hopi Cultural Preservation Office Leigh Kuwanwisiwma says, “The archaeologists go back in time and try and retrace it. This is an approach that resonates with Hopi thought. ![]() In doing so, we subscribe to an idea of the past not as fixed, finite, and singular but as contiguous with the present. Instead, we offer an introduction to the many ways in which this man has been misnamed and unnamed, known and erased, over the past eighty-five years. In this article, we do not claim to have “discovered” Naquayouma. Names-whether of people, places, or times-hold power. 2 We also reflect on the complexities of sharing histories like this one and the ways in which we, as non-Hopi scholars, have approached this work. In this Research Note, we trace the erasure of Naquayouma from art-historical scholarship, correcting the record to foreground his contributions to these murals as well as other projects. However, the murals’ designs are deeply indebted to the contributions of a fifth man whose name has been conspicuously erased from these records: Hopi artist, performer, and knowledge holder Ernest (Eagle Plume) Naquayouma (1906–1985). ![]() 1 The names of designer and architect Paul Lester Wiener (1895–1967), architect Julian Clarence Levi (1874–1971), and architect and engineer Charles Higgins also often appear in conjunction with the overall project. Among them is Eduard “Buk” Ulreich (1889–1966), a painter who executed a number of murals for the Treasury Section of Fine Arts and is often credited for his work developing the stacked symbols evocative of various Native American artistic traditions employed for the US Pavilion murals (fig. In accompanying exhibition materials and press coverage, several men are lauded-or derided-for these striking designs. From Photographies en couleurs: Exposition internationale des arts et des techniques appliqués à la vie moderne Album officiel (Paris: Photolith, 1937), page 6įrom their position on the banks of the Seine, the two ninety-foot-tall murals adorning the United States’ national pavilion towered over the 32 million visitors to the International Exposition of Arts and Technology in Modern Life in 1937 (fig. Paul Lester Wiener, architect Eduard “Buk” Ulreich, muralist, US Pavilion at the International Exposition of Art and Technology in Modern Life, Paris, 1937.
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