- David Bradley (White Earth Ojibwe, birth 1954)
- Hopi Maiden IV, about 2000
- Ink on paper
- New Mexico, United States
- H: 29 1/2 in, W: 22 1/4 in (H: 74.9 cm, W: 56.5 cm)
- Gift from James and Margie Krebs Collection of Native American Art, 2001
- Commentary on the marketing and consumption of Native art and culture using familiar imagery
- Artist well-known for conveying political messages using irony in his art
Bradley’s central image is his rendition of an iconic Native American photograph taken of a Hopi Maiden by a late 19th-century photographer Edward S. Curtis, who was documenting the "dying race" of the "noble savage". Bradley’s maiden is overlaid on gift-wrapping paper that features images of Katsinas, Hopi spirit beings who bring rains for the harvest and serve as divine messengers during ceremonies. Katsina dolls are given to Hopi girls and newly married Hopi women following these ceremonies to serve as reminders of important cultural beliefs and values. Originally made only for religious and educational use within the Hopi communities, Hopi began to sell and trade katsina dolls on a wide scale. By combining the familiar Hopi maiden with the katsina dolls, Bradley comments on the commercialization of Hopi culture and identity.
LL in crayon 'Hopi Maiden IV' ; signed LR in crayon 'David Bradley'.
This is a monotype print depicting a Hopi woman transposed over kachina figures. The image is printed on wallpaper and attached to a larger piece of paper. Colors of black, blue, and red are dominant in the image.
- Intersections, Native American Art in a New Light, Peabody Essex Museum, Salem, MA.; June 24, 2006 through November 27, 2011
Peabody Essex Museum