Fritz Scholder’s Insane Indian No. 25 (1972): A Raw and Compassionate Vision
“People don’t really like Indians. Oh, they like their own conceptions of the Indian — usually the Plains Indian, romantic and noble and handsome and somehow the embodiment of wisdom and patience. But Indians in America are usually poor, sometimes derelicts outside the value system, living in uncomfortable surroundings. We have really been viewed as something other than human beings by the larger society.”- Fritz Scholder to the Chicago Tribune, 1973
Set against a vivid red background, Fritz Scholder’s Insane Indian No. 25 (1972) presents a haunting, emotionally charged portrayal of a Native American figure. Cloaked in dark shadow, with a single feather suspended from his hair and frenetic, colorful brushstrokes animating his face, the figure pulses with intensity. This work, number 25 in Scholder’s groundbreaking Indian series, embodies the artist’s commitment to unflinching honesty in depicting Native American subjects. Rather than conforming to the romanticized stereotypes perpetuated by the Western art canon, Scholder offers a more complex, human, and often unsettling view of Indigenous identity.
Created during a time of immense social upheaval—the Vietnam War, the Civil Rights Movement, and the rise of psychedelia and rock and roll—Insane Indian No. 25 channels the emotional undercurrents of its era. The painting strips away illusion, offering a raw look into the psyche of its subject. Yet, despite its grim thematic content, psychosis, alienation, and inner turmoil, Scholder imbues the work with empathy. His bold, expressive use of color and gesture conveys not just intensity but compassion. “The positive does not exist without the negative,” he once said. “And the role of the artist is not to compromise, but to express the truth with all the power of which he is capable.”
To be offered this November 14 in Freeman’s Post-War and Contemporary Art sale in New York, the strategic placement of Insane Indian No. 25 underscores Scholder’s stature not only as a Native American artist but as a major figure in contemporary American figurative painting and colorism. Throughout his career, Scholder resisted the narrow label of "Native artist." Instead, he embraced the visual language of Pop Art —its vibrant palette, confrontational themes, and cultural immediacy —to depict Native American subjects with unprecedented directness and emotional depth. He sought to redefine how these subjects were seen and understood, placing them at the center of contemporary artistic discourse.
At Freeman’s, we are honored to present Scholder’s work within the context of Post-War and Contemporary Art, where it belongs. As market leaders in Scholder’s oeuvre, we have proudly sold 10 of the top 20 highest-priced works by the artist at auction. Insane Indian No. 25 comes to us from a distinguished private collection and is being offered as part of Property from the Collection of Barbara Berger. Acquired from Nedra Matteucci Galleries in Santa Fe, the work made an unforgettable impression on the consignor. “Upon visiting the gallery, I was immediately drawn to it because it was just so striking,” Berger recalled. “I was absolutely transfixed. I had no idea who Fritz Scholder was, but I was in awe. Actually, a spiritual moment! Nothing else we have acquired has had that impact on us.”
Scholder’s Insane Indian No. 25 stands as a powerful testament to his fearless vision, disrupting convention, challenging perception, and insisting on truth. Its inclusion in this season’s Post War and Contemporary Art sale affirms his rightful place among the most vital American artists of the 20th century.