Dani Neitzelt received her Bachelor’s degree of Liberal Arts from The Evergreen State College with an emphasis on Critical Race theory and Film studies. Prior to pursuing her Masters degree at CCA, Dani Neitzelt assisted with program development, funding, and implementation at non-profit and arts organizations in Washington State. Since relocating to the Bay Area Dani has published a review in Art Practical, and served as an intern in San Francisco Museum of Modern Arts Interpretive Educational Technologies Department. Her current research interrogates the relationship between erotic portraits of Native American Women and the unification of colonial power in the post Civil War landscape.
Her previous artistic work includes:
Multi media installations
- 2009 – “Torso” — Film, performance and interaction around the role of the torso in various cultures/places.
- 2010-”Corporations are Gangs” — Modern dance, spoken word and music critiquing the implications of corporate crime on communities.
- 2011 – ”Constructing Whiteness” — Mixed media installation involving photo, oil painting, and weaving around Native American identity and mixed race.
- 2010-”Tough”– Critique of bullying within schools
- 2011-”Do you hear what I see?” — Short ethnographic film used as an agitation piece to the hearing community while exploring the power of visual language. (Shown at Tacoma Art Museum for their Mighty Tacoma exhibition.)
- 09.19.2014 / Watch Dani Neitzelt Present at Annual VCS Symposium
- 8.25.2014 / Sightlines Essays from VCS Class of 2014 Now Available
- 4.17.2014 / IMPACT Award Event Features Work of Five VCS Students
Manifest Destiny: Frontier Fantasies Realized through the Carte De Visite
Sexualized historic images of Native American women, consumed by the American public, have been catalogued and archived as anthropological documents do to their social reception and circulation. These erotic images treated as evidence of Native American types, historicize the exploitive fantasies they depict and obscure their creation by American nationalists during the era of westward expansion. This thesis, “Manifest Destiny: Frontier Fantasies Realized through the Carte de Visite,” uses the “Wichita Women,” an erotic carte de visite series created by William S. Soule in 1867, to expose the implications of this practice on ideological and topographical place. In order to illuminate the fabricated narratives present in Soule’s “Wichita Women” and how they construct a social reality that promotes Euro-American dominance, I will analyze the “Wichita Women” through a materialist lens. A materialist consideration of the “Wichita Women” as artifacts, whose production and treatment speaks to their cultural economy as much as to their context, develops how the “Wichita Women” #1–6 realized indigenous subjugation and materialized the nationalist “American” subject through each encounter.