Driving Buffalo Over the Cliff 1914

Curator: Standing before us is "Driving Buffalo Over the Cliff," a 1914 artwork by Charles M. Russell. Editor: The dynamism is arresting! The immediate sense is of a chaotic fall—a brutal choreography of mass and gravity, rendered with a surprisingly delicate hand. Curator: Russell’s use of watercolor and mixed media brings a raw, almost visceral quality to the depiction of this traditional hunting practice. It highlights a profound relationship between the Indigenous hunters and their environment, a relationship fundamentally based on a labor for survival. The very act of “driving” becomes an illustration of both cooperation and exploitation. Editor: Precisely, and the earthy palette further emphasizes that relationship—the browns and ochres of the buffalo mirroring the cliff face, unified under a hazy sky. It's fascinating how Russell uses perspective to heighten the sense of plunging movement, almost as if the viewer is drawn toward the cliff's edge. Curator: Right, and what about the historical context informing his choices? Russell's own experiences deeply shaped his portrayals of the West. Understanding his perspective is vital in considering how consumption—the material use of buffalo by the hunters—factors into this visual narrative, but also to remember its own value as an object, since art itself participates in material economies. Editor: A very interesting point. However, by drawing attention to these figures in the scene it establishes relationships of scale, further suggesting a broader space. Through formal organization, Russell communicates something crucial beyond the mere act of the hunt. Curator: True. Viewing Russell's work through this lens of the labor involved, the materiality of existence within this painting, gives one pause and causes introspection. Editor: Yes, there is more than the immediate formal presence. The echoes resonate beyond the visual experience, suggesting stories of resilience and existence.