Europe Views the World examines the wide diversity of images that Europeans produced to represent the wide variety of peoples and places around the globe during and after the so-called 'Age of Exploration'. Beginning with the medieval imagery of Europe's imagined alien races, and with an emphasis on the artists of Northern Europe, Larry Silver takes the reader on a tour across continents, from the Americas to Africa and Asia. Encompassing works such as prints, paintings, maps, tapestries and sculptural objects, this book addresses the overall question of an emerging European self-definition through the evidence of visual culture, however biased, about the wider world in its component parts. Unique to this book, each chapter concludes with an 'in response', analysing representations of Europeans by indigenous peoples of each continent to give a deeper and more multi-faceted account of the impact of Europe's view of the world.

Throughout the nineteenth century, the land known as ""Indian Territory"" was populated by diverse cultures, troubled by shifting political boundaries, and transformed by historical events that were colorful, dramatic, and often tragic. Beyond its borders, most Americans visualized the area through the pictures produced by non-Native travelers, artists, and reporters - all with differing degrees of accuracy, vision, and skill. The images in Picturing Indian Territory, and the eponymous exhibit it accompanies, conjure a wildly varied vision of Indian Territory's past. Spanning nearly nine decades, these artworks range from the scientific illustrations found in English naturalist Thomas Nuttall's journal to the paintings of Frederic Remington, Henry Farny, and Charles Schreyvogel. The volume's three essays situate these works within the historical narratives of westward expansion, the creation of an ""Indian Territory"" separate from the rest of the United States, and Oklahoma's eventual statehood in 1907. James Peck focuses on artists who produced images of Native Americans living in this vast region during the pre-Civil War era. In his essay, B. Byron Price picks up the story at the advent of the Civil War and examines newspaper and magazine reports as well as the accounts of government functionaries and artist-travelers drawn to the region by the rapidly changing fortunes of the area's traditional Indian cultures in the wake of non-Indian settlement. Mark Andrew White then looks at the art and illustration resulting from the unrelenting efforts of outsiders who settled Indian and Oklahoma Territories in the decades before statehood. Some of the artworks featured in this volume have never before been displayed; some were produced by more than one artist; others are anonymous. Many were completed by illustrators on-site, as the events they depicted unfolded, while other artists relied on written accounts and vivid imaginations. Whatever their origin, these depictions of the people, places, and events of ""Indian Country"" defined the region for contemporary American and European audiences. Today they provide a rich visual record of a key era of western and Oklahoma history - and of the ways that art has defined this important cultural crossroads.

This book presents a personal collection of ancestor sculpture and protective deities, following the ancient migratory and trade routes of the Austronesian, Southeast Asian Bronze Age, and Hindu-Buddhist peoples. The author, Thomas Murray, has spent a lifetime studying this art through his endeavours as a peripatetic dealer, collector, and field researcher. The objects illustrated come from a swath of widely varied cultures from Nepal eastward to Hawaii, with the overwhelming majority from Indonesia and Southeast Asia. Murray's eye is highly informed and based on an unusually large sampling of objects to which his experience and research have exposed him. The artworks documented represent some of the top examples he has acquired and retained over the course of a long career. They are characterised by sculptural balance and a harmony of line, as well as a rare quality of expressiveness. Each ranks high in terms of aesthetics and desirability within its own particular style as perceived by the art market and by other western aficionados.

This catalogue accompanies the inaugural exhibition of the Kaluz Museum, Mexico and the Mexicans in the Kaluz Collection, as a faithful display of a collector's passion for their cultural and artistic heritage. With a selection of more than 200 works that span a period of more than 250 years, mostly Mexican figurative painting, this catalogue presents the work of painters who have been captivated by Mexico's beauty, rarity and majesty. This pictorial exhibition talks about the country's landscape, people, food, customs and traditions. The talent and the gaze of established artists such as Pelegrin Clave, Jose Maria Velasco, Joaquin Clausell, Gerardo Murillo "Dr. Atl ", Angel Zarraga, Diego Rivera, David Alfaro Siqueiros, Jose Clemente Orozco and Raul Anguiano, are among the most prominent firms in the collection of the Kaluz Museum.

Written by anthropologist Dianne Johnson, Night Skies of Aboriginal Australia has been in demand since its publication in 1998. It is a record of the stars and planets which pass across the night-time skies. This noctuary holds not only a record of what appears in the skies and how Aboriginal people see them, but also offers an appreciation of the Aboriginal stories that are tied to the night skies and the ideas and beliefs behind them.

Salish Blankets presents a new perspective on Salish weaving through technical and anthropological lenses. Worn as ceremonial robes, the blankets are complex objects said to preexist in the supernatural realm and made manifest in the natural world through ancestral guidance. The blankets are protective garments that at times of great life changes—birth, marriage, death—offer emotional strength and mental focus. A blanket can help establish the owner’s standing in the community and demonstrate a weaver’s technical expertise and artistic vision. The object, the maker, the wearer, and the community are bound and transformed through the creation and use of the blanket. Drawing on first-person accounts of Salish community members, object analysis, and earlier ethnographic sources, the authors offer a wide-ranging material culture study of Coast Salish lifeways. Salish Blankets explores the design, color/pigmentation, meaning, materials, and process of weaving and examines its historical and cultural contexts.  

The Barnes Foundation's historic Pueblo and Navajo collections are explored alongside works by contemporary Native American artists This richly illustrated book makes the Barnes Foundation's exceptional collection of Native American art from the Southwest available to the public for the first time. Collector and educator Albert C. Barnes traveled to the U.S. Southwest in 1930 and 1931 and, deeply impressed by the generative art practices he saw there, formed a collection of Pueblo and Navajo pottery, textiles, and jewelry. Water, Wind, Breath illuminates the materials, forms, and designs of the objects as they relate to Pueblo and Navajo histories and ideas. The book blends postcolonial and Indigenous perspectives, introducing readers to living artistic traditions filled with purpose, intention, and a deeply embedded spirituality that connects places, practices, and Native identities. Works by contemporary Native American artists are juxtaposed with historic pieces, illuminating the connections between heritage traditions and modern practices. Distributed for the Barnes Foundation Exhibition Schedule: The Barnes Foundation, Philadelphia (February 20-May 15, 2022)

Praise for the companion title "Encyclopedia of Native Tribes of North America" by Michael Johnson:
""This substantial reference remains one of the most elaborately illustrated books on Native Americans now in print. . . . Highly recommended for North American historical and ethnographical collections.""
-- Library Journal

"Arts and Crafts of the Native American Tribes" is an authoritative illustrated reference that has been carefully created to be a companion to "Encyclopedia of Native Tribes of North America," not a competitive title. It examines in detail how Native American culture evolved and considers the regional similarities and differences of the arts and crafts created by tribes across the continent. Contemporary and modern photographs, fine line illustrations and step-by-step reconstructions (including a Plains Indian warrior dress with headdress, war bonnet, shirt and leggings) show the techniques of manufacture and display the skill and artistry of the crafters.

The book opens with concise coverage of the main cultural areas of North America and a survey of styles by region and over time. A major section on the living structures -- huts, tipis, igloos, etc. -- is followed by an analysis of individual crafts. These include: Baskets -- plaiting, twining, coiling Bone, antler and horn -- implements, tools, pins, fishhooks Decorative arts -- beadwork, porcupine quillwork Featherwork -- bonnets and headdresses Metalwork -- copper, silver, iron, gold Pottery Shellwork Skinwork -- rawhide, leather, furs Stonework -- arrowheads, pipes, art Textiles -- spinning, weaving Woodwork -- totems, figures, masks, utensils, working with bark.

"Arts and Crafts of the Native American Tribes" is destined to be a primary reference used by ethnographers, historians and collectors for years to come. It is essential for any library serving academic patrons.

Drawing attention to the ways in which creative practices are essential to the health, well-being, and healing of Indigenous peoples, The Arts of Indigenous Health and Well-Being addresses the effects of artistic endeavour on the "good life", or mino-pimatisiwin in Cree, which can be described as the balanced interconnection of physical, emotional, spiritual, and mental well-being. In this interdisciplinary collection, Indigenous knowledges inform an approach to health as a wider set of relations that are central to well-being, wherein artistic expression furthers cultural continuity and resilience, community connection, and kinship to push back against forces of fracture and disruption imposed by colonialism. The need for healing-not only individuals but health systems and practices-is clear, especially as the trauma of colonialism is continually revealed and perpetuated within health systems. The field of Indigenous health has recently begun to recognize the fundamental connection between creative expression and well-being. This book brings together scholarship by humanities scholars, social scientists, artists, and those holding experiential knowledge from across Turtle Island to add urgently needed perspectives to this conversation. Contributors embrace a diverse range of research methods, including community-engaged scholarship with Indigenous youth, artists, Elders, and language keepers. The Arts of Indigenous Health and Well-Being demonstrates the healing possibilities of Indigenous works of art, literature, film, and music from a diversity of Indigenous peoples and arts traditions. This book will resonate with health practitioners, community members, and any who recognize the power of art as a window, an entryway to access a healthy and good life.

Inseparable from its communities, Northwest Coast art functions aesthetically and performatively beyond the scope of non-Indigenous scholarship, from demonstrating kinship connections to manifesting spiritual power. Contributors to this volume foreground Indigenous understandings in recognition of this rich context and its historical erasure within the discipline of art history. By centering voices that uphold Indigenous priorities, integrating the expertise of Indigenous knowledge holders about their artistic heritage, and questioning current institutional practices, these new essays "unsettle" Northwest Coast art studies. Key themes include discussions of cultural heritage protections and Native sovereignty; re-centering women and their critical role in transmitting cultural knowledge; reflecting on decolonization work in museums; and examining how artworks function as living documents. The volume exemplifies respectful and relational engagement with Indigenous art and advocates for more accountable scholarship and practices.

In 1954, eager buyers lined up three abreast for over half a block to get into the Canadian Handicrafts Guild in Montreal where, once inside, they wrestled and argued to purchase stone sculptures carved by Inuit artists. In a short span, interest in Inuit carving became a worldwide phenomenon and a major source of income for the Inuit. Their sculptures, tapestries and prints later became the unofficial national art of Canada, gracing homes, corporate offices, postage stamps and international art showcases. This is the story of how Inuit art came to be regarded as some of the best Indigenous art of the twentieth century. James Houston, an artist as well as a brilliant raconteur and lecturer, was unquestionably instrumental in its development. His enthralling Arctic stories were a gift to journalists, but his inconsistencies became a major hurdle for historians. This book portrays the unusual alliance between James Houston and early Inuit art enthusiasts, the Canadian Handicrafts Guild and the Canadian Department of Northern Affairs. Through painstaking research, it presents their adventures, management, concerns and successes.

Completing the two-volume set, Souls Grown Deep, Vol. 2 takes the visual and historical presentation of the first volume to a richer level, offering an even broader array of artistic styles and media.

Published in 2000, the first volume explored the diverse historical roots of the genre and introduced artists whose work recalled the South of the pre-civil rights era. This sequel brings the movement into the present, delving into the work of the current generation of artists who are creating a complex form of art that blurs the boundaries between folk and contemporary art.

An accessible, beautifully designed introduction to Celtic art, written by the world expert, this book offers a carefully chosen sequence of 250 masterpieces ranging from the fifth century BC to the eighth century AD. The great variety and full range of Celtic artistic production is represented - from stone sculptures, terracotta vases and iron swords to amber necklaces, golden torques, bronze fibulas and illuminated manuscripts. Specially commissioned photography and lavish reproductions celebrate and reinforce the delicacy and beauty of Celtic art. This volume spans the entire Celtic world - from Ireland to France, Italy to Hungary, the Czech Republic to Germany and Austria. The result is an authoritative survey of this magnificent period of artistic culture, as well as a rich visual sourcebook for students, arts and crafts lovers.

In Art to Come Terry Smith—who is widely recognized as one of the world's leading historians and theorists of contemporary art—traces the emergence of contemporary art and further develops his concept of contemporaneity. Smith shows that embracing contemporaneity as both a historical concept and a condition of the globalized world allows us to grasp how contemporary art exists in a fluid space of increasing interdependencies, multiple contemporaneous modernities, and persistent inequalities. Throughout these essays, Smith offers systematic proposals for writing contemporary art's histories while assessing how curators, critics, philosophers, artists, and art historians are currently doing so. Among other topics, Smith examines the intersection of architecture with other visual arts, Chinese art since the Cultural Revolution, how philosophers are theorizing concepts associated with the contemporary, Australian Indigenous art, and the current state of art history. Art to Come will be essential reading for artists, art students, curators, gallery workers, historians, critics, and theorists.

Rare photographs document the lives of Cheyenne people during the early reservation yearsIn 1878 the Northern Cheyennes left what is now Oklahoma, where they had been incarcerated, and began an epic journey back to their homeland. They suffered great losses, but a small group of survivors reached its destination in southeastern Montana in 1879 and eventually won the right to a reservation there. A Northern Cheyenne Album presents a rare series of never-before-published photographs that document the lives of tribal people on the reservation during the early twentieth century - a period of rapid change. Reservation physician and expert photographer Thomas B. Marquis captured Northern Cheyenne life in numerous images taken from 1926 to 1935. After 1960, former tribal president John Woodenlegs and others interviewed tribal elders and, drawing on tape recordings, composed the photos' lively captions. Margot Liberty, editor of this volume, has added her own descriptions, filling in details of Northern Cheyenne culture and history from a scholar's viewpoint. A valuable record of an all-but-forgotten generation, this volume is also an inspiring tribute to the Northern Cheyenne elders whose resilience and adaptability helped ensure the future of their people.

A Hopi Indian will tell you that a kachina is a supernatural being who is impersonated by a man wearing a mask. Small wooden dolls carved in the likenesses of the various kachinas are used to help to teach Hopi children the tribal religion and traditions. Each child receives a doll made especially for him by his male relatives. He treasures the doll and studies it so that he can learn to recognised and respect the host of spirit kachinas that people the Hopi world. Kachinas are difficult to classify because different Hopi pueblos have different ideas about their appearance and their functions. The late Dr Harold Colton identified 266 different kinds of kachina dolls, and in this book he describes the meaning, the making, and the principal features of all of them.

This ground-breaking book explores the revolution thats transformed New Zealand museums in recent decades, and is influencing how museums worldwide care for indigenous objects. Drawing on practical examples and interviews with professionals from all kinds of institutions, Dr Conal McCarthy lifts the lid on current practice. How do museum professionals deal with the indigenous objects in their care from day to day? How do they engage with tribal communities? How do they meet the needs of visitors, as well as these communities? The first critical study of its kind, Museums and Maori is an indispensible resource for professionals, students, academics, and museum supporters.

Needlework made by collectives is a significant contemporary art form in Southern Africa. The outcome of initiatives directed at upgrading the economic position of women, these art works are devised as vehicles through which women can support themselves and, in the case of rural projects, attract capital into communities in which job opportunities are scarce or non-existent.

Appliques by the Weya collective in Zimbabwe are an outstanding example of art that has emerged from an initiative of this type. In this detailed and beautifully illustrated book, which also serves as a catalogue of a traveling exhibition, a selection of writers explore the fascinating narratives in Weya appliques and provide important new documentation about the history of the collective. Contributors consider the appliques in the light of a history of needlework production in Africa and of the work of needlework collectives in South Africa, and focus on ways in which issues of gender have a bearing on both the production and reception of works in fabric.

The book provides a lasting record of an extraordinary exhibition and offers insights into the work which will be of interest not only to researchers, teachers and students of Southern African art but also to people interested in gender studies.

The art and artists of Harlem: Found Ways represent the place and its people, burnishing Harlem's luster but never attempting to smooth its rough edges. The works in the exhibition span a variety of media to explore the invention of Harlem and, at the same time, reinvent it. Artists in the exhibition Harlem: Found Ways, at the Ethelbert Cooper Gallery of African & African American Art in Cambridge, MA, from 24 May to 15 July, 2017, included Dawoud Bey, Abigail DeVille, Glenn Ligon, Howard Tangye, Nari Ward, and Kehinde Wiley. The exhibition also included items from the Harlem Postcards project at The Studio Museum in Harlem. This catalog features essays, including a foreword by Henry Louis Gates, Jr., that contemplate the uniquely layered urban landscape of Harlem, a city within a city. Vibrantly illustrated with objects from the exhibition, the catalog itself is an important resource for students of contemporary African American art and of the city.

OBSERVATIONS OF THE SUN, moon, planets, and stars played a central role in ancient Maya lifeways, as they do today among contemporary Maya who maintain the traditional ways. This pathfinding book reconstructs ancient Maya astronomy and cosmology through the astronomical information encoded in Precolumbian Maya art and confirmed by the current practices of living Maya peoples.

Susan Milbrath opens the book with a discussion of modern Maya beliefs about astronomy, along with essential information on naked-eye observation. She devotes subsequent chapters to Precolumbian astronomical imagery, which she traces back through time, starting from the Colonial and Postclassic eras. She delves into many aspects of the Maya astronomical images, including the major astronomical gods identified with the sun, moon, naked-eye planets, and constellations and their associated glyphs, astronomical almanacs in the Maya codices (painted books), and changes in the imagery of the heavens over time.

This investigation yields new data and a new synthesis of information about the specific astronomical events and cycles recorded in Maya art and architecture. The first major study to focus on the relationship between art and astronomy in ancient Maya culture, this book will be essential reading for students and scholars of Precolumbian art history and anthropology, archaeoastronomy, ethnography, and comparative mythology.

Susan Milbrath is Curator of Latin American Art and Archaeology at the Florida Museum of Natural History and Affiliate Professor of Anthropology at the University of Florida. A former student of Esther Pasztory, she did postdoctoral work with Michael Coe and Anthony F. Aveni and served asguest curator of "Star Gods of the Ancient Americas", a traveling exhibit that opened at the American Museum of Natural History and toured nationally between 1982 and 1984.

A Comprehensive Guide to the Objects Associated with the Voyages of James Cook Held at New Zealands National Museum. Almost 250 years after James Cook first sighted Aotearoa New Zealand in October 1769, there is still world-wide interest in all aspects of his three voyages of exploration in the Pacific between 1768 and 1779: discovery (by Europeans), astronomy, natural science, and interactions with indigenous communities. For many people, the artificial curiosities -- works of human manufacture from exotic locations collected on these voyages by Cook himself and others on his ships,including super-numenaries and servants, have held a particular fascination. In this handsome book, widely respected Pacific scholar Janet Davidson details the collection of Maori, Pacific and Native American objects associated with the voyages held at the Museum of New Zealand Te Papa Tongarewa, one of the few significant institutional collections that have not been fully described until now. Richly illustrated and accessibly written, it is a treasure trove.

This exciting new investigation explores the rich variety of indigenous arts in the US and Canada from the early pre-contact period to the present day. It shows the importance of the visual arts in maintaining the integrity of spiritual, social, political, and economic systems within Native North American societies and examines such issues as gender, representation, the colonial encounter, and contemporary arts. Basketry, wood and rock carvings, dance masks, and beadwork, are discussed alongside the paintings and installations of modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier.