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Considered the definitive book on dream catchers, this book is for all readers that want to learn about these important symbols in Native American tradition. It features close-up photographs of dream catchers; covers their history, legends, lore and cultural symbolism; and presents a stunning collection of dream catchers that are at once craft and high art. The text is suitable for a popular audience while also thorough, rigorous and valuable in research. This edition has been redesigned with a new cover. The exact genesis of dream catchers is unknown and origin stories vary as do beliefs about how they work. One legend has it that a medicine woman made a circle from a willow branch and used sinew to weave a spider-web pattern across the hoop. The circular talisman was hung over the bed of a sick child where it would 'catch' bad dreams and protect the child, or it would catch good dreams to bless the child. However it worked, the child would recover by morning. Purchasers of dream catchers might find such a story attached to it. Dream catchers made by artists and artisans vary in their design and decoration, and range from craft to high art. Making dream catchers is a popular project for craft groups; conversely, dream catchers are exhibited at museum and galleries where they can fetch a high price. Each element of a dream catcher carries a meaning and function, and these are discussed in the book. * Part 1: Legend and Distribution - Origins; Algonquian Cultures; Dreaming. * Part 2: Net Charms - Power in Lines and Knots; Non-Algonquian Cultures; Dream Catchers Today. * Part 3: Scale - Fascination with 'Indians'; Marketing; Artists and Manufacturing; The Future. More than 40 colour photographs feature contemporary dream catchers and artifacts with captions that identify and comment on the different patterns and their significance. The book features original works by Nick Huard, who creates dream catchers in his studio near Montreal.
Patronized by royalty between the sixth and eighth centuries, the
monuments of Guatemala's ancient Maya city of Piedras Negras were
carved by sculptors with remarkable skills and virtuosity. Together
patrons and sculptors created monumental imagery in a manner unique
within the larger history of ancient Maya art by engaging public
viewers through illustrations of ceremonies focusing on family and
the feminine in royal agendas.
This enchanted tour of Egyptian art by one of its early explorers is one of the most beautiful modern works on ancient Egyptian art. Prisse d'Avennes's monumental work, first published in Paris over a ten-year period between 1868 and 1878, includes the only surviving record of many lost artifacts. This classic work is now available for the first time in paperback.
Visions of Grace: 100 Masterpieces from the Collection of Daniel and Marian Malcolm highlights 100 works from the celebrated collection assembled by Drs Daniel and Marian Malcolm. Assembled over more than four decades, it is one of the finest private collections of Pre-colonial African Art, and as such serves as a model and a source of inspiration for new and seasoned collectors alike. Focusing on pieces of the highest artistic quality, the Malcolms are especially fascinated by creative expressions reflecting the religious beliefs, social structures and traditional values of sub-Saharan African peoples. The author concentrates on the diversity and depth of the collection, providing historical, sociological and religious contexts while exploring the wellspring of the collectors' love for African Art. Striking a balance between oft-published and lesser known masterpieces from the collection, the present volume unveils a number of key works to the public for the first time.
The paintings of several Australian aboriginal artists are presented in this exhaustive visual reference. The chapters and photographs explore how the signs used in sacred ceremonies in the Central Desert, the Kimberley, and Arnhem's Land to express their history and culture gave rise to an internationally recognized pictorial movement.
In the sixteenth-century Atlantic world, nature and culture swirled in people's minds to produce fantastic images. In the South of France, a cloister's painted wooden panels greeted parishioners with vivid depictions of unicorns, dragons, and centaurs, while Mayans in the Yucatan created openings to buildings that resembled a fierce animal's jaws, known to archaeologists as serpent-column portals. In Nature and Culture in the Early Modern Atlantic, historian Peter C. Mancall reveals how Europeans and Native Americans thought about a natural world undergoing rapid change in the century following the historic voyages of Christopher Columbus. Through innovative use of oral history and folklore maintained for centuries by Native Americans, as well as original use of spectacular manuscript atlases, paintings that depict on-the-spot European representations of nature, and texts that circulated imperfectly across the ocean, he reveals how the encounter between the old world and the new changed the fate of millions of individuals. This inspired work of Atlantic, European, and American history begins with medieval concepts of nature and ends in an age when the printed book became the primary avenue for the dissemination of scientific information. Throughout the sixteenth century, the borders between the natural world and the supernatural were more porous than modern readers might realize. Native Americans and Europeans alike thought about monsters, spirits, and insects in considerable depth. In Mancall's vivid narrative, the modern world emerged as a result of the myriad encounters between peoples who inhabited the Atlantic basin in this period. The centuries that followed can be comprehended only by exploring how culture in its many forms-stories, paintings, books-shaped human understanding of the natural world.
A compelling blend of art history, social analysis, and personal testimony, "Creative Collectives" presents a new paradigm for understanding Chicana/o studies. By following the artistic and ideological journeys of two groups of northern California Chicana artists, MarA-a Ochoa argues that the women involved in these collectives created complex images whose powerful visual social commentary sprang from the daily experiences of their lives.
Ochoa's artistic narrative first focuses on Mujeres Muralistas, a pathbreaking San Francisco group of mural painters organized in the early 1970s at the height of the Chicana/o Movement. The story then turns its attention to Co-Madres Artistas, a group of artists who came together in the 1990s after spending decades tending their families, becoming successful in their careers, and launching key Chicana/o cultural institutions in the Sacramento Valley. Ochoa tells the stories of the individual members of these collectives to show how they combined art and activism.
Through an innovative application of oral history interviews, a fascinating compilation of individual and collective stories emerges. Creative Collectives is notable for its skillful weaving of personal recollections, representational analysis of mural and easel painting, and social movement narration.
This is a critical response to dialogues about producing, exhibiting and criticizing art and aesthetics at a time when the art world is locked in an analysis of identity politics. It is a critique of art and visual politics which addresses the question of how art can be an empowering and revolutionary force within the black community. The book's 13 pieces include essays on photography and the representation of black male bodies.
Kramer sets out to show that African images of Europeans-in sculpture, masquerades and above all spirit possession-are the reverse and also the counterpart of European images of the Other as savage, whether noble or ignoble. In ways which may echo 19th-century European realism, they reveal the power of the detail: a feather, a car, or the eponymous red fez which runs like a leitmotif through spirit possession cults of the early colonial period. The Red Fez demonstrates not only the startling likenesses to ourselves and our culture, but also reflections of forms of knowledge which this civilization has submerged.
The appearance during the first millennium A.D. of small, exquisitely carved artifacts of walrus ivory in the Bering Strait region marks the beginning of an extraordinary florescence in the art and culture of North America. The discovery in the 1930s and 1940s of world-class carvings of animals, mythical beasts, shape-shifting creatures, masks, and human figurines astounded scholars and excited collectors. Nevertheless, the extraordinary objects that belong to this fascinating, sometimes frightening, world of hunting-related art remain largely unknown. "Gifts from the Ancestors" examines ancient ivories from the coast of Bering Strait, western Alaska, and the islands in between--illuminating their sophisticated formal aesthetic, cultural complexity, and individual histories. Many of the pieces discussed are from recent Russian excavations and are presented here for the first time in English; others are from private collections not usually open to the public. The essays, written by an international group of scholars, adopt a refreshing interdisciplinary approach that gives voice to the various competing, and now sometimes cooperating, stakeholders, including Native groups, museums, archaeologists, art historians, art dealers, and private collectors.
This beautifully illustrated volume examines American Indian rock art across an expansive region of eastern North America during the Mississippian Period (post AD 900). Unlike portable cultural material, rock art provides in situ evidence of ritual activity that links ideology and place. The focus is on the widespread use of cosmograms depicted in Mississippian rock art imagery. This approach anchors broad distributional patterns of motifs and themes within a powerful framework for cultural interpretation, yielding new insights on ancient concepts of landscape, ceremonialism, and religion. It also provides a unified, comprehensive perspective on Mississippian symbolism. A selection of landscape cosmograms from various parts of North America and Europe taken from the ethnographic records are examined and an overview of American Indian cosmographic landscapes provided to illustrate their centrality to indigenous religious traditions across North America. Authors discuss what a cosmogram-based approach can teach us about people, places, and past environments and what it may reveal that more conventional approaches overlook. Geographical variations across the landscape, regional similarities, and derived meaning found in these data are described. The authors also consider the difficult subject of how to develop a more detailed chronology for eastern rock art.
Social and behavioral scientists study religion or spirituality in various ways and have defined and approached the subject from different perspectives. In cultural anthropology and archaeology the understanding of what constitutes religion involves beliefs, oral traditions, practices and rituals, as well as the related material culture including artifacts, landscapes, structural features and visual representations like rock art. Researchers work to understand religious thoughts and actions that prompted their creation distinct from those created for economic, political, or social purposes. Rock art landscapes convey knowledge about sacred and spiritual ecology from generation to generation. Contributors to this global view detail how rock art can be employed to address issues regarding past dynamic interplays of religions and spiritual elements. Studies from a number of different cultural areas and time periods explore how rock art engages the emotions, materializes thoughts and actions and reflects religious organization as it intersects with sociopolitical cultural systems.
For generations, Native American traditional artists in the Northeast have passed on their culture through beadwork, basketry, canoe making, wood carving, and quilting. Through the work and words of over thirty-five traditional artists living and working primarily in Maine and New York, North by Northeast explores these artists' connection to place, tradition, and cultural identity. A tribute to the resourcefulness and creativity of contemporary practicing artists from the Wabanaki, Akwesasne Mohawk, and Tuscarora tribes, the book is beautifully illustrated with the work of photographers Cedric Chatterley, Peggy McKenna, Jere DeWaters, and Peter Dembski. Folklorist Kathleen Mundell has been working with Native American traditional artists for over fifteen years. Her collaboration with Maine's Native American basketmakers resulted in a multi-tribal effort to preserve the ash basketry tradition and in the creation of the Maine Indian Basketmakers Alliance. North by Northeast will also
Beauty, skill, and wisdom, woven into one fine collectibles book.
These 50 interesting and entertaining projects are designed to teach beginners the basic skills of the Maori craft of plaiting.Fun with Flax shows how to make items ranging from a simple windmill, a dart and a whistle to more complex puzzles, balls, birds, fish and even a caterpillar. Each project is described one step at a time with easy-to-follow line drawings and instructions. All are fun and will delight children and adults with their ingenuity, their beauty and the amusement they provide. This book is ideal for kohanga reo, playcentres, kindergartens, Maori crafts groups and New Zealand homes. It aims not only to teach the skills of plaiting to young New Zealanders but also to nurture a new generation of flaxworkers. Mick Pendergrast first became interested in plaiting and other Maori crafts while teaching in small communities in the East Cape area. He has spent time as a VSA teacher in the Solomon Islands and on the remote Polynesian outlier of Tikopia, and has worked in a number of New Zealand's major museums. He is the author of Te Mahi Kete- Maori Basketry for Beginners, Feathers and Fibre, a catalogue of the first major exhibition of Maori flaxcrafts, of which he was the curator, and Raranga Whakairo, a collection of plaiting patterns.
This text looks at the indigenous painting traditions found on ancestral shrines in Yoruba divinities known as Orisa, a devotional activity which is often enacted in honour and veneration of departed ancestors for healing, empowerment and transformation. It examines 16 shrine paintings found in both rural and urban centres.
"Pacific Encounters" will bring together for the first time many stunning Polynesian objects gathered during the early period of contact with European voyagers, missionaries and settlers. The book will present, in eight thematic sections, around 270 items with short captions, including sculptures in wood and stone; feather and basketry images; feather cloaks; wood bowls; decorated bark cloths; and ornaments and valuables of ivory, shell, bone and nephrite. The objects will be drawn from the major regions of Polynesia: the Society Islands (Tahiti), Austral Islands, Cook Islands, Marquesas Islands, Hawaii, Easter Island, Tonga, Fiji, Samoa and New Zealand. Two introductory essays will place the objects in their cultural and historical contexts. The first will focus on the role, meaning and interpretation of Polynesian art and material culture; the second on the history of the collection of this material by explorers (Cook et al.), missionaries and traders, and the routes by which it eventually came to museums. The essays will be illustrated with pictorial material taken from voyaging and missionary sources (paintings, engravings from Cook's Voyages and missionary publications). This groundbreaking book will convey the wonder and excitement not only of the objects themselves, but of the cultures and cultural interactions which gave rise to them. Many were collected during the voyages of Cook, Vancouver and other explorers, and by early Christian missionaries - in effect by European 'chiefs' and 'priests'. Such pieces have remarkable stories to tell.
Nearly 200 photographs chronicle the evolution of Hopi jewelry over the last four decades and illustrate, through the KA(3)pavi collection, the innovative and often stunning creations of twelve well-known Hopi artists. Included are Victor Coochwytewa, Phillip Honanie, and Michael Kabotie, as well as Ricky Coochwytewa, Sidney Sekakuku, Sharold Nutumya, Watson Honanie, Bradley Gashwazra, Norman Honie Sr., John Coochyumptewa, Beauford Dawahoya, and Jason Takala Sr. The artists incorporate gold, platinum, diamonds, and rare turquoise into a tradition previously identified predominantly with silver, while expanding the range of designs to include narrative and ceremonial representations. Some of the iconography speaks to the merging of two cultures: ancient Hopi and contemporary commodity. These objects have a historical voice and represent a major change not only in jewelry styles, but in Hopi culture.
Public perception of Native American art and culture has often been derived from misunderstandings and misinterpretations, and from images promulgated by popular culture. Typically, Native Americans are grouped as a whole and their art and culture considered part of the past rather than widely present. Shapeshifting challenges these assumptions by focusing on the objects as art rather than cultural or anthropological artifacts and on the multivalent creativity of Native American artists. The approach highlights the inventive contemporaneity that existed in all periods and continues today. More than 75 works in a wide range of media and scale are organized into four thematic groups: changing-expanding the imagination; knowing-expressing worldview; locating-exploring identity and place; and voicing-engaging the individual. The result is a paradigm shift in understanding Native American art.
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