Featuring 13 iconic paintings and prints of New York City by Jacob Lawrence, Georgia O'Keeffe, Florine Stettheimer, John Marin, and others, this 12-month calendar brings Gotham to life through the eyes of artists. Explore the lush lawns of Central Park. Visit legendary landmarks such as the Brooklyn Bridge and the Statue of Liberty. And revel in the famed nightlife of Times Square and Harlem. All the works included are from the world-renowned collection of The Metropolitan Museum of Art. Features include: 7" x 7" (7" x 14" open)-a great size for small spaces Printed on FSC-certified paper with soy-based ink Planning spread for September-December 2022 Spans January-December 2023 Widely celebrated and nationally recognized holidays and observances Moon phases, based on Universal Time Information about each work of art shown

Whether painted by artist-warriors depicting their feats in battle or by other Native American artists, 19th and 20th century ledger drawings--drawn on blank sheets of ledger books obtained from U.S. soldiers, traders, missionaries, and reservation employees--provide an excellent visual source of information on the Great Plains Native Americans. An art form representing a transition from drawing on buffalo hide to a paper medium, ledger drawings range in style, content, and quality from primitive and artistically poor to bold and sharp with lavish use of color. Although interest in ledger drawings has increased in the last 20 years, there has never been a guide to holdings of these drawings. By bringing together the diverse and scattered institutions that hold them, this book will make finding the drawings quicker and easier. Illustrated with examples of ledger drawings, the guide identifies the libraries, archives, historical societies, and museums that hold ledger drawings. The institutions listed range from those with large collections, such as the Smithsonian, Yale, and Oklahoma museums, to institutions with only a few drawings. The book also includes a bibliography of books and articles about Indian pictographic art. The index will enable researchers to locate art by individual artists and tribes.

Explore the history and tradition of Wabanaki art.

Sketching and carving both visualize and memorize a given image, but within Nowau culture the manner in which this is achieved in a canoe prowboard is entirely different than in a conventional drawing. When studying the impressive ceremonial canoes of Kitawa, in the Milne Bay Province of Papua New Guinea, G.M.G. Scoditti became struck by the absolute predominance of the artist's mind in the process of creating images: all its stages, its uncertainties and experimentation, must unfold within its silent, rarefied space. Only once fully formed can the image be revealed to the village in material form. Reflecting on the absence of orthographic writing within Nowau culture, and finding parallels with poetic and musical composition, Scoditti gained further insight into the Nowau processes of creation through the critiques the Kitawan carvers made of his own fieldwork sketchbooks. Spurred on by their curiosity, the anthropologist handed over his art materials to the master carvers to make their own drawings on paper or cardboard. Traditional pigments used on the polychrome canoe prowboards were added to the unfamiliar media of watercolour, acrylic, coloured pencils and ballpoint pen. Three-dimensional ornamentation became two-dimensional as images of self-decoration and huts were added to those of prowboards. This exercise was all the more fascinating given the prohibition of drawing on the surface of the wood before carving. On return to Italy, further graphic dialogues unfolded when an architect and an artist from the tradition of Italian Abstraction responded with their own intriguingly different interpretations of the canoe prowboard and its relationship to the Nautilus shell. All these drawings are brought together in this book, along with Scoditti's own sketches from fieldwork and ethnographic collections in Newcastle upon Tyne and Rome. 'The fieldworker's or museum ethnographer's sketches are never going to be quite the same. Through the double filter of Kitawan philosophy and Scoditti's ruminations, the apparently simple triad of sketch - drawing - carving opens out into a discourse on the creative mind. The Kitawan creator - here primarily the male carver - does not have to demonstrate how he creates, and what springs from these pages have a fascination of their own. Several distinctive hands, Kitawan and Italian, reflect from different interpretive and professional vantage points on the very process of drawing through doing exactly that, drawing. The result are images that delight and challenge, sensitively assembled, beautifully reproduced. An extraordinary record of creativity, and a rare corpus of visual memorials.' - Professor Dame Marilyn Strathern, University of Cambridge

River-cane baskets woven by the Chitimachas of south Louisiana are universally admired for their beauty and workmanship. Recounting friendships that Chitimacha weaver Christine Paul (1874-1946) sustained with two non-Native women at different parts of her life, this book offers a rare vantage point into the lives of American Indians in the segregated South. Mary Bradford (1869-1954) and Caroline Dormon (1888-1971) were not only friends of Christine Paul; they were also patrons who helped connect Paul and other Chitimacha weavers with buyers for their work. Daniel H. Usner uses Paul's letters to Bradford and Dormon to reveal how Indian women, as mediators between their own communities and surrounding outsiders, often drew on accumulated authority and experience in multicultural negotiation to forge new relationships with non-Indian women. Bradford's initial interest in Paul was philanthropic, while Dormon's was anthropological. Both certainly admired the artistry of Chitimacha baskets. For her part, Paul saw in Bradford and Dormon opportunities to promote her basketry tradition and expand a network of outsiders sympathetic to her tribe's vulnerability on many fronts. As Usner explores these friendships, he touches on a range of factors that may have shaped them, including class differences, racial attitudes, and shared ideals of womanhood. The result is an engaging story of American Indian livelihood, identity, and self-determination.

The vast spaces of the Karoo abound with images pecked, incised or engraved onto rock surfaces. These landscape markings, generally known simply as 'rock engravings', were created in the pre-colonial period by San hunter-gatherers who roamed this land in search of sustenance and water. Their engravings most commonly (though not always) depict animals such as eland, quagga or elephant, and reflect, in fascinating and unusual ways, the relationship of the San to the harsh environment of the Karoo. San Rock Engravings explores the visual legacy of these ancient artists, the signs they left on the land and the meanings that could be attached to them.

This title records a variety of Sotho decorated huts and other structures. Decorative patterns of paint, pebbles inset into mud plaster, and incised plaster constitute the Ditema mural art tradition of the Basotho, which is similar to, but differs in many respects from, the Ndebele mural art tradition. Many of the interesting and often complex Ditema patterns made on the walls of huts appear to have been rich in symbolism relating to the culture of the Basotho, though these meanings, and the tradition itself, is fast disappearing.

Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses ""decolonial aesthetics,"" a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America-- time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of ""antipoetry,"" unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva cancion by musicians including Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.

In this volume, contributors show how stylistic and iconographic analyses of Mississippian imagery provide new perspectives on the beliefs, narratives, public ceremonies, ritual regimes, and expressions of power in the communities that created the artwork. Exploring various methodological and theoretical approaches to pre-Columbian visual culture, these essays reconstruct dynamic accounts of Native American history across the U.S. Southeast. These case studies offer innovative examples of how to use style to identify and compare artifacts, how symbols can be interpreted in the absence of writing, and how to situate and historicize Mississippian imagery. They examine designs carved into shell, copper, stone, and wood or incised into ceramic vessels, from spider iconography to owl effigies and depictions of the cosmos. They discuss how these symbols intersect with memory, myths, social hierarchies, religious traditions, and other spheres of Native American life in the past and present. The tools modeled in this volume will open new horizons for learning about the culture and worldviews of past peoples.

In investigating both customary and modern Pacific art, these collected essays present a wide-ranging view across time and space, taking the reader from antiquities to contemporary art and travelling across the region from Australia, Papua New Guinea, Solomon Islands, New Zealand to Samoa. Studies of artefacts and traditions, such as self-portraiture, wood carvings, shields, tapa, dance and masks, use a variety of approaches, some deriving from museum studies while others are based on field investigation. Together they reveal the oppositional tensions between tradition and innovation, and the inspiration this provides for contemporary artistic practice, either through conscious implementation or through rejection of past definitions. Engagement with these cultural performances and objects provide new possibilities for the creation of current identities. The drafting of antiquities legislation, the tortuous journeys objects have taken to find a place in galleries, the use of exhibitions in cultural exchange, framed by the architecture of museums, as well as the role of film and photography in appropriating Pacific art culture for emerging nationalisms, all of these are considered here to enhance our understanding of indigenous art's place in the world today. These historical perspectives provide the framework in which to explore contemporary acquisition and outreach work with Pacific communities that seeks to reconnect people with objects taken away from the places and intentions of their makers. Questions of how identity is maintained and expressed through art are considered for both individuals and groups. What role does the transformations of objects play in this process? What impacts have been made by colonialism, modernism and the great migrations of people between Pacific countries, and from rural to urban environments? Ultimately, how is 'Pacific Islander' defined and by whom? In Repositioning Pacific Art, artists, curators and academics, including Maori and other Islanders, bring fresh approaches to Oceanic Art History and raise questions of relevance not only to scholars of indigenous art in the region but also in other parts of world.

This absorbing volume examines the cultural role of rock art for the Apsaalooke, or Crow, people of the northern Great Plains. Their extensive rock art developed within the changing cultural life of the tribe. Individual knowledge and meaning of rock art panels, however, relies as much on collective concepts of landscape as it does on shared memories of historic Crow culture. Using this idea as a focus, this book:-introduces Plains Indian rock art of the 19th century as we know about it from its own stylistic conventions, ethnographic data, and historical accounts;-investigates the contemporary Crow discourse about rock art and its place within the cultural landscape and archaeological record;-argues that cultural concepts of space and place are fundamental to the way rock art is discussed, experienced and interpreted.

Why did the ancient artists create paintings and engravings? What did the images mean? This careful study of rock art motifs in the Trans-Pecos area of Texas and a small area in South Africa demonstrates that there are archaeological and anthropological ways of accessing the past in order to investigate and explain the significance of rock art motifs. Using two disparate regions shows the possibility of comparative rock art studies and highlights the importance of regional studies and regional variations. This is an ideal resource for students and researchers.

Why has Asmat art, from a remote and small south-coast West Papuan society, had such a significant and prolonged impact on the world stage? This book explores the way major collections were made and examines the motivations of the collectors, their relationships with those from whom they purchased and the circumstances of the exchange. It also considers the involvement of artists and film-makers, anthropologists, representatives of the civil authorities and missionaries. Asmat artists have maintained their unique appeal through constant stylistic innovation and by engagement with new publics, both locally and internationally, as exemplified by the recent displays of women's weaving alongside the men's carved wooden shields, drums and figures. Despite accelerating social changes, Asmat art continues to thrive as a compelling and transformative Melanesian presence in the global art world. 'Awe-inspiring works of Asmat art loom large in the Metropolitan Museum of Art in New York and in dozens of other great museums around the world. Nick Stanley's engagingly written study provides the best history to date of the making of Asmat art traditions and of their avid acquisition by successive European and north American collectors. Most importantly, the book foregrounds the creativity and imagination of Asmat artists themselves. This is a book that will be welcomed by everyone interested in the arts of the Pacific.' Nicholas Thomas, University of Cambridge

With hundreds of vivid and detailed color photographs and an easy narrative style enlivened by historical vignettes and images, the authors bring overdue appreciation to a centuries-old Native American basketmaking tradition in the Northeast. Explore the full range of vintage Indian woodsplint and sweetgrass basketry in the Northeastern U.S. and Canada, from practical "work" baskets made for domestic use to whimsical "fancy" wares that appealed to Victorian tourists. Basket collectors may compare four regional styles: Southern New England and Long Island, Northern New England and Canadian Maritimes, Upper New York State, and the Great Lakes. Learn of the craft's key role in supporting many Eastern Algonquian and Iroquoian peoples through generations of turmoil and change. Discover how today's creative young artisans are building upon their legacy. The book's "Resources" section guides readers to relevant websites and publications as well as northeastern Indian basketry collections in more than 30 public museums.

With the growth in interest in ethnographic materials, this is an essential publication for large public libraries serving patrons with interests in anthropology and art. Choice This indispensable directory of data on serials that contain information relevant to the study of ethnoart fills a gap long perceived by scholars of the indigenous arts of Africa, Oceania, and the Americas, an area of academic focus in which reference materials have been generally lacking. Culled from a database developed by compiler Eugene C. Burt to track potentially useful periodicals in connection with his publication, Ethnoarts Index, the volume is designed to aid those with an interest in ethnoart in determining which serial publications best suit their research needs. In the main directory users can find information on former titles, publisher, editorial focus, content features, and a relevancy rating on each of almost 700 individual serial titles that have an editorial focus related to ethnoart. Nine separate appendices list recommended titles in various categories as well as serials that include indexing, bibliographic or abstracting services, ceased titles, and more. Titles include publications from the fields of art history, anthropology, history, area studies, librarianship, museum studies, and general interest magazines. Prefatory material explains the book's organization and the rationale for its recommendations and is followed by the major portion of the volume, the database of serials arranged alphabetically by title. In each entry more than 20 categories of information are provided including an assigned relevancy rating that rates the level of relevancy of a publication to ethnoart based on the frequency that ethnoart-oriented articles, reviews, etc. appear. Several indices make collection development recommendations based on the relevancy ratings, with approximate cost information. Additional appendices list titles by country of publication, relevant ceased titles, and more. Finally, a unique, rotated-keyword-in-title index that includes subtitles and former titles provides easy access to the main database. All of this information will be welcomed by librarians, scholars, collectors, dealers, curators, and students of ethnoart. Highly recommended for librarians building ethnoart collections; for university libraries where courses on any aspect of ethnoart are taught; and for libraries of museums and research institutions with an interest in ethnoart.