Cigar Store Indian c. 1941

Editor: So, this is Samuel Philpot's "Cigar Store Indian," from around 1941, done in watercolor and drawing. It strikes me as rather unsettling; the figure is simultaneously cartoonish and yet strangely assertive. How do you interpret this work, especially given its title? Curator: This work operates on many layers. On the surface, we see a rendering of what was once a common commercial figure. However, it’s crucial to acknowledge that these figures weren't innocent marketing tools. They perpetuated stereotypical representations of Indigenous people, often used to attract customers while simultaneously contributing to their marginalization. What do you think the artist is doing here by creating a portrait of such a problematic image? Editor: Perhaps the artist is attempting to re-appropriate the image, reclaim it somehow by placing it in the context of fine art? I am probably being too optimistic. Curator: That is definitely something to consider, especially given its date, 1941. This was a period of increasing awareness around racial representation and the beginnings of what we now call identity politics. What might be the role of the artist during this time to represent such object? We must question power structures that lead to stereotypical representations in the first place. The heart is interesting on the subject; is it pure and innocent? or used a symbolic shield of the treatment of Indigenous women during the time? Editor: I see, it's more about acknowledging the complex history and using art to critique these structures rather than simply aestheticizing a stereotype. This gives me a lot to reflect on. Curator: Indeed. This work invites us to consider how images participate in broader societal power dynamics and how artists can both perpetuate and challenge those dynamics. Hopefully, this has brought awareness and an actionable plan for you.