“The cowboy is such a powerful icon, and icons inevitably are larger-than-life figures. But in a sense, they’re also kind of empty.'
, which turns a critical eye on exactly how the American myth has been translated through different artistic lenses. It rounds up both loans and new commissions from 27 artists across the globe, including Asian American, Latinx and Native perspectives.
But how to address such a huge symbol of the American West? “The cowboy is such a powerful icon, and icons inevitably are larger-than-life figures. But in a sense, they’re also kind of empty," Abrams says."They’re an idea, but they’re not concrete. What we wanted to do was to find that substance, to substantiate the myth. To name it and counter it, to expose it as myth.”
Dearfield is in Weld County, not far from Greeley, and despite having been abandoned in the 1940s, still has a few remaining structures, including a long-shuttered diner and the original home of the town’s founder, Oliver Toussaint Jackson. Jackson, a successful Boulder businessman, started the community in order to create a colony for African Americans around 1910, and by 1920, the town had grown to almost 300 residents.
Abrams says she thinks the cultural popularity of the cowboy, from dime novels to modern movies, comes from everything swirling in the country’s experience as a whole. “It was born in this moment in American history where you have the trauma of the Civil War, the trauma of the battlefield, and you also have the anxiety around industrialization and the rapidity of change that wrought. The end of 'open range' ranching with the development of barbed wire.
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