Westward Ho c. 1880s

Editor: Here we have Charles Vanderhoof’s etching "Westward Ho," dating from the 1880s. The scene depicts settlers traveling west, encountering Indigenous people. What strikes me is the somewhat staged feeling of the encounter – like a tableau vivant. What do you see in this piece? Curator: You’ve picked up on something interesting with the “staged feeling.” This print reflects a very specific narrative, popular at the time, about westward expansion. It’s less a depiction of lived reality, and more a carefully constructed visual argument. Notice how the settlers, with their wagons, dominate the center. Editor: Yes, the figures almost seem positioned, deliberately so. How does this influence how viewers understood this artwork at the time, compared to now? Curator: Back then, images like these played a crucial role in justifying the displacement of Native populations. "Westward Ho" reinforces the idea of inevitable progress and civilization triumphing over the ‘wilderness.’ Today, we can recognize how this image actively participated in a political project: that of manifest destiny. It normalizes violence by representing it as a natural part of American progress. It really exposes how imagery and artistic narratives can be manipulated to legitimize colonization and marginalization. Does this make you think of other artworks that propagate dominant narratives? Editor: Definitely. Thinking about its historical function has changed my interpretation, too. It really wasn't a neutral illustration but rather, an active component of historical and societal trends and shifts. Curator: Exactly. Studying art means considering its societal impact and unpacking the narratives it subtly advances or reinforces. Editor: This really emphasizes how important it is to approach these kinds of historical works with a critical and mindful lens. Thanks!