Contributors

Barbara Landis is the Carlisle Indian Industrial School Archives and Library Research Specialist for the Cumberland County Historical Society in Carlisle, PA, where she has been on staff since 1986. Her published works include essays in Boarding School Blues: Revisiting American Indian Educational Experiences (2006); Carlisle Indian Industrial School: Indigenous Histories, Memories, and Reclamations (2016); and The Oneida Indians in the Age of Allotment, 1860–1920 (2006). Her tour of the Carlisle Indian Industrial School grounds was filmed for the Pennsylvania Cable Network in October 2003, and airs on PCN as part of a continuing television series. A similar audio tour was broadcast live on WITF-FM in May 2000. Landis was interviewed for the popular Radiolab program on National Public Radio broadcast in January 2015, for a discussion of the origins of football in the United States. Landis also appears in the documentary films Our Spirits Don’t Speak English (2008); The Lost Ones: The Long Journey Home (2009); and Jim Thorpe: The World’s Greatest Athlete (2009). Landis is a consultant for the Dickinson College Carlisle Indian School Digitization Project and has traveled extensively lecturing and presenting Carlisle Indian School programming at universities, conferences, and tribal gatherings.

Gina Rappaport is the Archivist for Photograph Collections and Head Archivist at the Smithsonian Institution’s National Anthropological Archives. Before joining the Smithsonian in 2009, Rappaport was a project archivist at the National Oceanic and Atmospheric Administration’s Pribilof Project Office, where she co-authored The Pribilof Islands, Alaska: Guide to Photographs and Illustrations, a publication on historical visual resources relating to the history of the Pribilof Islands and the Aleutian people who live there. Previously she worked as a project archivist for a variety of individuals and institutions, including the University of Washington, the National Park Service, and the Winthrop Group. She received a BA in history from the University of Washington and an MA in history and archives management from Western Washington University. Her research interests focus on the integration of archival theory into practice, especially with respect to the management of photographic collections; she explored some of these concerns in her master’s thesis, “Limitations and Improvements in the Archival Management of Photographs. ” Another area of equal interest is in working with Native communities to develop protocols for the respectful care of Native cultural heritage held in non-native institutions.

Heather A. Shannon was the Photograph Archivist at the National Museum of the American Indian from 2012 to 2015. She is now the Associate Curator of Nineteenth-Century Photography at the George Eastman Museum, Rochester, NY. Shannon is currently directing an Institute of Museum and Library Service–funded project to catalog and digitize the Gabriel Cromer Collection, one of the museum’s foundational collections and one of the most important gatherings of early French photographic materials outside France. In addition, she is preparing an exhibition of and editing a volume dedicated to the Cromer collection. Specializing in the photography of the American West, Shannon holds a PhD in art history from Rutgers, the State University of New Jersey.

Acknowledgments

Resisting the Mission represents a collaborative effort by a great number of people. On behalf of all who made this exhibition, publication, and coordinating events a reality, I extend my sincere gratitude. Foremost, I thank Shan Goshorn, for her art and activism, which has a profound impact on all who experience it. I admire her imagery and message, clear vision, and insight. Members of the The Trout Gallery, Dickinson College, and the broader Carlisle community thank Shan Goshorn for sharing her work with us, particularly during this important milestone in the history of the Carlisle Indian School. I am deeply indebted to Shan’s studio assistants, Rose McCracken and LoRae Davis, for helping with countless details regarding the exhibition and catalogue preparation. I am most grateful to the private collectors who lent works to this important exhibition. Without their visionary approach to acquisitions and generosity, such a show would not be possible. They are David Halpern and Sue Halpern, Kim Niven, Pamela Rosenthal and Sam Wertheimer, Wilson Pipestem and Brenda Toineeta, and Lambert Wilson, I thank as well a number of individuals at the Montclair Art Museum, New Jersey, for making its material available for the exhibition: Kim Kruse, Kimberly Siino, Gail Stavitski, Lora Urbanelli, Osanna Urbay, Alison Van Denend, and Frank Walker. Among the many pleasures associated with hosting an exhibition is the opportunity to work with inspiring colleagues from other institutions. In this regard, I thank those who prepared essays for this catalogue, brining insight and context to Goshorn’s work: Brenda Landis, Suzan Shown Harjo, Heather A. Shannon, Gina Rappaport, W. Richard West Jr., and Jacqueline Fear-Segal. Resisting the Mission opened at The Trout Gallery as part an extensive series of events associated with the centennial commemoration of the closing of the Carlisle Indian School. I thank my colleagues who joined me in making this program successful: Barbara Landis, from the Cumberland County Historical Society; and Maria Bruno, Nikki Dragone, Amy Farrell, James Gerencser, Susan Rose, and Malinda Triller, from Dickinson College. Preparing this book required a wide range of assistance and support. The manuscript proofs were expertly copy edited by Mary Cason. Michael Marconi and Peter Philbin at Brilliant Graphics, Exton, Pennsylvania made the publishing process a pleasure. The handsome graphic design for this book was created by Phillip Unetic of Unetic Design, Lawrenceville, NJ. At Dickinson College, I thank President Margee Ensign and the faculty, staff, and students for engendering a scholarly environment that values the central role of the visual arts in an undergraduate academic experience. I thank members of the college’s senior administration: Brenda Bretz, Brontè Burleigh-Jones, Catherine McDonald Davenport, Karen Neely Faryniak, Connie McNamara, Robert Renaud, George Stroud, Kirk Swenson, and Neil Weissman for their on-going support of The Trout Gallery and its mission as an all-campus academic resource. Related promotional and curatorial materials was provided by Amanda DeLorenzo and Neil Mills of Design Services at Dickinson College, and Ken Ball, Kurt Smith, and Krista Hanley