Philip J.
Deloria. Becoming Mary Sully: Toward an
American Indian Abstract. University of Washington Press, 2019. 324 pp.
ISBN 9780295745046.
https://uwapress.uw.edu/book/9780295745046/becoming-mary-sully/
Since the turn of the twenty-first century, the walls
of the narrow enclosure called "Modernism"--a structure with rooms designed principally
for denizens of New York City and Western Europe--have been blown apart by a
global re-evaluation of the many modernisms that have co-existed and flourished
in the last one hundred years. Prominent scholars of modern African art
(Mercer 2005, Hassan 2010, O'Brien et al., 2012) as well as scholars of Latin
American modernism (Ramírez and Olea 2004)
have been documenting this phenomenon for two decades. But with few exceptions (Anthes 2006), scholars of Native North American art have
turned to this phenomenon only recently (Phillips 2010, 2015, Harney and
Phillips 2018).
Philip
Deloria's study of the remarkable work of his great-aunt, Mary Sully (born
Susan Mabel Sully, 1896-1963) adds depth and nuance to our understanding of the
many forms that modernism takes outside of the metropolitan mainstream. Sully's
legacy to the art world was a box of more than 100 colored pencil drawings that
she called "personality prints." Each of
these is a vertical triptych, the ostensible subject of which is often a figure
from popular or highbrow culture. Film impresario Florenz
Ziegfeld, actor and dancer Fred Astaire, and writers Eugene O'Neill and
Gertrude Stein (Plates 4.8 and 4.9) are among them. In other instances, she
grapples with something more abstract: "Easter" (167-172), or "Children of
Divorce" (82-83).
Trained
in History and American Studies, Deloria gets high marks as an art historian in
this book, successfully and persuasively reading these images iconographically, stylistically, and socially. In addition
to the expected reading of each triptych alone, he cleverly deciphers them
across the horizontal registers, concluding that their meaning as a collected oeuvre is to be found in the way that
Sully defined the top-most image as the "signifying abstract": generally
representational designs in which the iconographic clues have the most clarity.
The middle registers contain the "geometric abstract" in which Sully uses all
of her draftsmanly talents for pattern, symmetry, and
repetition. The bottom registers, the "American Indian abstract," generally
contain what the author describes as "overdetermined images that want to leap
out of any categorical box that might try to contain them" (114), sometimes
drawing from what we might think of as Native imagery--beadwork, quillwork,
hide-painting, and the like--as well as from the broader visual realm that, over
the last century, Native people have incorporated as deeply as the rest of us.
Deloria
explains the haphazard way that these survived the artist's death, first
forgotten in the archives of her distinguished sister, the writer and Dakota
linguist Ella Deloria (1889-1971), then nearly destroyed, and eventually passed
on to the author's mother, who gave them to him (4-5). His scrutiny of these
astonishingly complex works, which veer from the representational to the
abstract and decorative, wrestles not only with family biography but with the
cultural history of modernism in art, as well as what modernism meant to
twentieth-century Native people. In part, it is a logical continuation of his
previous well-received books (Deloria 1998, 2004) that shake up received truths
about Native people and others; in part it is also a loving family memoir.
Sully's work sits comfortably within the American art
historical canon with which she was certainly familiar, and Deloria compares
her favourably with Marsden Hartley, Charles Demuth, John Sloan, and others, reminding
us that "one did not need a passport to breathe the air and drink the water of
modernism" (147). Sully was her sister's driver and companion during the many
summers of Ella's ethnographic and linguistic fieldwork across the Plains;
during the academic year the sisters principally lived in New York City, at
least during much of the 1930s and 40s. Here Sully was exposed to a panoply of
modern popular culture, from which she drew much of her subject matter. In the
museums of New York, as well as within her family and during the long trips
across the Plains, Sully's eyes were filled with the Native imagery that rubs
shoulders so comfortably in her work with the popular, the modern and the
cosmopolitan.
While Deloria does not compare Sully with artists who
have principally been understood within the vexed categories variously known as
outsider, visionary, or self-taught art, her life and work has much in common
with some of them. She was a socially uneasy and reclusive commentator on popular
culture, like Joseph Cornell and Henry Darger (Hartigan
2015, Bonesteel 2000); her work reflects turbulent inner emotional and
spiritual states as well as a reckoning with the larger modern world, like that
of Josephine Tota, Theora Hamblett,
and Minnie Evans (Berlo 2018). The author speculates that today Mary Sully
might be diagnosed with depression, anxiety disorder, or bipolar disorder, and
treated pharmaceutically (85). Her art was clearly her refuge, and we are the
better for it. She provides a brilliant nuance to our understanding of the many
modernisms that flourished in the mid-twentieth century, and her great-nephew
is a most worthy interlocutor for her art.
Janet
Catherine Berlo, University of Rochester, New York
Works Cited
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