Between 1821 and 1842, Charles Bird King painted a series of portraits of Native American diplomats for Thomas L. McKenney, founding Superintendent of Indian Affairs. These pictures were hung in a gallery in McKenney's office in the War Department in Washington, DC, and were later copied by lithographers for inclusion in McKenney and James Hall's History of the Indian Tribes of the United States (1836–44). Significantly, the production and circulation of these portraits straddles a period of tremendous change in the diplomatic interactions between the United States and Native tribes. This essay analyzes a selection of these images for their complex messages about the sovereignty of Indian people and their appropriate interactions with European American culture. Paying particular attention to pictures of leaders of southern nations, including the Cherokee, Creek, and Seminole, I discuss the sitters' strategies of self-fashioning within the context of long-standing cultural exchange in the region. In addition, I offer a reading of the meaning of the Indian gallery as a whole that challenges the conventional wisdom that it is an archive produced exclusively to impose US control on the subjects included, arguing instead for the inclusion of portrait-making within this history of interaction.
How Did We Get Here and Where Are We Going? * The History of Inclusion in the United States: Osgood, R. (2005). The History of Inclusion in the United States. * Washington, DC: Gallaudet University Press. 226 pages. $55.
