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New Mexico Colcha Club looks at the history, beauty, and various styles of New Mexico colcha embroidery, and tells the uplifting story of how a small group of determined women revived a cultural tradition destined for extinction. In the 1700s Spanish colonial women in the isolated province of New Mexico wanted to add beauty and warmth to their bedding. They worked their homespun yarn in a long couching stitch to create the flowing needlework that came to be called "colcha embroidery." Highly sought after and valued, a detailed embroidered piece could cost upwards of 46 pesos. (During the same time period, sheep and cows cost 2 and 15 pesos respectively). However, a century later colcha was on its way to oblivion. Like many traditional crafts, this beautiful and skilled artform was becoming obsolete as inexpensive and abundant commercial cloth, modern styles, and machine-made products became more desirable and available. Fast-forward to the 1920s and the Arte Antiguo, a colcha club founded by twelve Hispanic women in the Espanola Valley of New Mexico. Spearheaded by Teofila Ortiz Lujan and then later her daughter, Esther Lujan Vigil, these women heroically sought to rescue colcha and bring it back to its rightful place as a cherished custom. The women traveled to churches to examine vintage altar cloth, hunted through attics and archives in search of examples of the antique embroidery, and sketched old patterns--all in the hopes of keeping colcha from extinction and activating a revival of the embroidery. Esther Lujan Vigil, through her artwork and teaching, keeps the tradition alive and has elevated colcha from a folk art to a fine art. Divided into three sections, the first part of thebook traces the roots of the embroidery tradition and domestic life in colonial New Mexico. The second part looks at the Arte Antiguo's push in the early twentieth century to revive this lost art. The third part focuses on Esther Lujan Vigil's artistic skills and the renaissance of colcha embroidery today. New Mexico Colcha Club features historical and recent photographs of colcha work that demonstrate the beauty, intricacy, and diversity of this Old World custom. This inspirational and informative biography of colcha is folk art enlivened by social history. It is a must read for those interested in Spanish textile traditions and folk art, needlework, and New Mexico history.
Indigenism is not folk art. It is a vanguard movement conceived of by intellectuals and artists conversant in international modernist idioms and defined in response to global trends. Beyond National Identity traces changes in Andean artists' vision of indigenous peoples as well as shifts in the critical discourse surrounding their work between 1920 and 1960. By challenging the notion of pictorial indigenism as a direct expression of national identity, Greet demonstrates the complexity of the indigenists' critical engagement with European and pan-American cultural developments and presents the trend in its global context. Through case studies of works by three internationally renowned Ecuadoran artists, Camilo Egas, Eduardo Kingman Riofrio, and Oswaldo Guayasamin Calero, Beyond National Identity pushes the idea of modernism in new directions--both geographically and conceptually--to challenge the definitions and boundaries of modern art.
This book is an attempt to make sense of what is the matter with humanity today. For the author and artist Kareline van der Burg 9-11 was a turning point and the inspiration of her artistic work. It made her think about Americas karma, the loss of the Indian Wisdom and the outright aggressiveness of America. Kareline realised that the western way of living is no longer the way forward. That inspired her to start studying the Indian culture and their love and feel for the unspoiled nature around them, seemingly unparalleled in history. Indians viewed their interaction with the animals and plants as important lessons to help them understand their own nature. As a result of Karelines inspiration, poetry and artwork, a rich illustrated art book was born: "A Time: All There is Matters Equally". A masterpiece with glossy pictures of painted drums and jewellery and a new calendar, which makes you think about our cosmic nature. A collection of new native art, like goat-skinned drums with oils, with feathers and shells. The 52 drums are accompanied by 365 sentences to announce a new mindset to honor Gaia. The book shows jewellery inspired by the Mayan Calendar, revealing the relationship between cosmic cycles and our body. A perfect gift for who loves art and the true spirit of nature.
Here are India's best-known beasts -- tiger, elephant, deer, snake... rendered by a variety of folk and tribal artists. Each of their artistic traditions conceives of the beast in distinctive ways, as original in the imagining as it is in the rendering. This handmade book is a new updated version of our classic Beasts of India, long out of print. Individually screenprinted on handmade paper, this wonderful introduction to Indian painting styles is an art and book lover's dream.
This book explores the roles of contemporary urban shrines and their visual traditions in Benin City. It focuses on the charismatic priests and priestesses who are possessed by a pantheon of deities, the communities of devotees, and the artists who make artifacts for their shrines. The visual arts are part of a wider configuration of practices that include song, dance, possession and healing. These practices provide the means for exploring the relationships of the visual to both the verbal and performance arts that feature at these shrines. The analysis in this book raises fundamental questions about how the art of Benin, and non-Western art histories more generally, are understood. The book throws critical light on the taken-for-granted assumptions which underpin current interpretations and presents an original and revisionist account of Benin art history.
Turtles, ibexes, ships, inscriptions... Thousands of engraved and painted figures intrigue visitors in the wadis of Al-Hajar Mountains. Who created these enigmatic figures and when were they made? What are their hidden meanings? For the first time, this volume tries to answer these questions. It is the result of the archaeological surveys and investigations undertaken by the author over the last ten years under the patronage of the Ministry of Heritage and Culture. In this book, the author takes the reader on an in-depth journey into the various themes present in the rock art of Oman. He offers theories on the chronology and interpretation, while exploring the landscape setting of the decorated panels and how best to research these. Several beautiful photographs and scientific tracings of the rock art accompany the text. The volume closes offering to enthusiasts and tourists a series of guided visits with GPS maps to the most interesting and visible rock art sites protected by Royal Decrees of the Sultanate.
Only 1000 copies of People of the Eland were printed in 1976. It was neither reissued nor reprinted. It has become one of the rarest and most expensive of all books on the African past. One of the things that most disturbed Patricia Vinnicombe while she was working at the Rock Art Research Institute at Wits in the early 2000s was that students could not access her book. As in many libraries, Wits University locks People of the Eland away in its rare and valuable book section. In 2002, Pat started to explore the possibility of republication. But, she did not feel that the book could be reissued without adding additional sections to explain how knowledge had expanded in the decades since the publication of the book. Tragically, Pat died in March 2003 before she could start work on the new sections. Peter Mitchell and Ben Smith have taken up this challenge and brought together the leading scholars in the field to write new sections to explain both how knowledge has changed since the publication of People of the Eland, and how current research is still influenced by this landmark volume. The Eland's People is thus intended as a companion volume to People of the Eland and it is hoped that this new volume will provide a richer appreciation of the importance of Pat's original work, as well as allowing readers an overview of current understandings of Drakensberg rock art.
Ten newly commissioned projects examine the complexities of contemporary Jewish American identity While American Jews are commonly considered a homogenous ethnic group, the reality today is far more complex. Conversion, adoption, intermarriage, and immigration have transformed the fabric of Jewish communities, as they have the United States as a nation. This fascinating book explores questions of American Jewish identity and how Jews fit today into larger discourses of race, ethnicity, and religion. Featuring ten photographic and video projects by emerging and mid-career artists, all commissioned by The Jewish Museum, the book presents a range of provocative discussions of the nature of Jewish identity in 21st-century America. Susan Chevlowe discusses how the artists explore individual communities to dispel stereotypes of contemporary Jewish life, and Ilan Stavans dissects the diversity of American Jews over the last century. In illuminating interviews with the artists, Joanna Lindenbaum provides insights into their ideas and methods. A beautifully illustrated portfolio of each of the commissioned works immerses the viewer in a distinctive community, revealing complex and often surprising ways in which Jewish Americans grapple with their identity. Participating artists: * Dawoud Bey * Tirtza Even and Brian Karl * Rainer Ganahl * Nikki S. Lee * Yoshua Okon * Jaime Permuth * Andrea Robbins and Max Becher * Shari Rothfarb and Avishai Mekonen * Jessica Shokrian * Chris Verene
In the past fifty years, the study of indigenous and pre-Columbian art has evolved from a groundbreaking area of inquiry in the mid-1960s to an established field of research. This period also spans the career of art historian Esther Pasztory. Few scholars have made such a broad and lasting impact as Pasztory, both in terms of our understanding of specific facets of ancient American art as well as in our appreciation of the evolving analytical tendencies related to the broader field of study as it developed and matured. The essays collected in this volume reflect scholarly rigor and new perspectives on ancient American art and are contributed by many of Pasztory's former students and colleagues. A testament to the sheer breadth of Pasztory's accomplishments, Visual Culture of the Ancient Americas covers a wide range of topics, from Aztec picture-writing to nineteenth-century European scientific illustration of Andean sites in Peru. The essays, written by both established and rising scholars from across the field, focus on three areas: the ancient Andes, including its representation by European explorers and scholars of the nineteenth century; Classic period Mesoamerica and its uses within the cultural heritage debate of the twentieth and twenty-first centuries; and Postclassic Mesoamerica, particularly the deeper and heretofore often hidden meanings of its cultural production. Figures, maps, and color plates demonstrate the vibrancy and continued allure of indigenous artworks from the ancient Americas. ""Pre-Columbian art can give more,"" Pasztory declares, and the scholars featured here make a compelling case for its incorporation into art theory as a whole. The result is a collection of essays that celebrates Pasztory's central role in the development of the field of Ancient American visual studies, even as it looks toward the future of the discipline.
Guide to petroglyphs found in Arizona, Colorado, Utah and New Mexico. Includes drawings and possible interpretations.
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.
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.
The Mossi people of Burkina Faso have a rich and complex history that is mirrored by the several types and styles of figures and masks they create. They came into being around 1500 A.D. when a large group of horsemen from what is now northern Ghana rode north into the valley of the Volta River and conquered the local farmers. The descendants of the conquering horsemen became the ruling class and used political art in the form of royal figures to validate their authority. Meanwhile the descendants of the conquered farmers became the spiritual class and made masks to represent the spirits of nature. The stylistic diversity of this art mirrors the several geographically divergent peoples who were conquered in 1500 and eventually became the Mossi we know today. Unlike several other West African peoples, the Mossi have not converted to Islam in large numbers, and so they continue creating brilliant art much as their ancestors did hundreds of years ago. Until the 1980s there was much confusion about the accurate attribution of Mossi art to the people who created it. This book makes clear that the Mossi have continued to create brilliant art which they use to this day to express ideas about politics and religion.
This catalogue presents around 200 artifacts from Irene and Peter Ludwig's collection of pre-Columbian art from the Americas. The works are organized thematically and ethnically, looking at pottery of the Mimbres culture; Mayan works in jade and the diversity of cultures in postclassic Western Mesoamerica (Toltecs, Aztecs, Mixtecs, Zapotecs and Tarascans); the development of early cultures in the Central Andes; ancient Peruvian erotic sculpture; metallurgy in the pre-Hispanic Andes; ritual drinking and libation; and many other topics and genres. A final section considers the appropriation of the pre-Columbian past throughout history and in the present. Also included are timelines of ancient American cultures. The Ludwig Collection today is part of the Rautenstrauch-Joest Museum in Cologne.
This comprehensive book traces the history and development of visual traditions in the Kongo religions of Africa and Cuba (where it is known as Palo Monte)
Featuring more than 500 photos and maps, this is the first comprehensive, research-based history of Navajo weavings with imagery inspired by tribal sacred practices. These Yei, Yeibichai, and sandpainting textiles have been the most sought after by collectors and the least studied by scholars. In spite of their iconography, they never served a ceremonial function. They were created by Navajo women at the instigation of Anglo traders, for sale to wealthy collectors willing to pay premium prices for their perceived spiritual symbolism. This book describes the historical and artistic development of the genre from its controversial emergence around 1900, to the 1920-1940 period of intense creativity, and concluding with the contemporary search for innovative patterns. Never-before-published weavings, detailed annotations, and an extensive bibliography make this an invaluable reference for scholars and collectors, and a fascinating exploration for all who are interested in the Southwest and its native cultures.
The eyes of a contemporary artist accompany us in discovering the art treasures in the Nouveau Musee National de Monaco. Yinka Shonibare, MBE, an artist of Nigerian origins living in London, where he was born in 1962, likes to unite different worlds in a single space, because he himself is a product of the multi-culturalism that now pervades the modern world. His reflections on identity and memory blend these two cultures in an entirely new aesthetic idiom. When he began to use wax in the 1990s as the material with which he modelled figures from the middle classes of the Victorian era, whom he represented as headless mannequins, he created an artistic trademark that made his work instantly recognisable. Whether models, sculptures, photographs or videos, the artworks of Yinka Shonibare have been exhibited in rooms of the Nouveau Musee National de Monaco that are rarely open to the public, and which encourage us to explore this part of the Principality's artistic history. Monte Carlo has always been the centre of a lively performing arts scene, and there are several collections that reflect this fact: Visconti's 'maquettotheque' at the Monte Carlo opera, Eugene Frey's extraordinary and brightly coloured stage sets, the curious collection of transparent paintings that belonged to the Marquis du Perier du Mouriez, religious boxes from the Galea Collection made by Carmelite monks in Provence, and thousands of other artificialia unearthed in the storerooms. A costume preservation workshop, which will remain open throughout the exhibition, will enable visitors to discover one of the hidden faces of the museum. Text in French.
The Silence of the Women: Bamana Mud Cloths is the first full-length scholarly book entirely devoted to an African art form created by women of the Bamana people in Mali, West Africa. These traditional mud-dyed textiles have typically been treated as craft but, here, they are presented as a complex art form. Sarah Brett-Smith sensibly explores the hidden cultural testimony written into the mud-cloth patterns, documenting women's silent visual commentary on the events that dominate their lives - excision, arranged marriage, childbirth and death. This book explores both art historical and anthropological considerations of technique, style, symbolism and function in Bamana textiles. This book is a decisive contribution to our understanding of female artisans/artists in Africa and it explores hitherto untouched areas of African art and culture and leads us into an emotional understanding of the shadowy world and silences of female knowledge.
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.
Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with "Western" influences, using a powerful and emotive "mix, meld and mash" approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue will be the first monograph to examine the full breadth and scope of Claxton's practice. It will be extensively illustrated and will include essays by Claxton's colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton's work for 25 years; Olivia Michiko Gagnon, a New York-based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.
This classic volume on the evocative and enigmatic pottery of the Mimbres people has become an irreplaceable design catalogue for contemporary Native American artists. Burt and Harriet (Hattie) Cosgrove were self-trained archaeologists who began excavating Mimbres materials in 1919. When their meticulous research came to the attention of Alfred V. Kidder of the Peabody Museum, he invited them to direct the Mimbres Valley Expedition at the Swarts Ranch in southern New Mexico on behalf of the Peabody.
Working in the summers of 1924 to 1927, the Cosgroves recovered nearly 10,000 artifacts at the Swarts site, including an extraordinary assemblage of Mimbres ceramics. Like their original 1932 report, this paperbound facsimile edition includes over 700 of Hattie Cosgrove's beautiful line drawings of individual Mimbres pots. It also presents a new introduction by archaeologist Steven A. LeBlanc, who reviews the eighty years of research on the Mimbres that have followed the Cosgroves' groundbreaking study. The Peabody's reissue of "The Swarts Ruin" once again makes available a rich resource for scholars, artists, and admirers of Native American art, and it places in historical context the Cosgroves' many contributions to North American archaeology.
No Deal! Indigenous Arts and the Politics of Possession encompasses a diverse group of voices from Australia and North America in order to investigate social relations of possession through the artifacts and motifs of expressive culture. The contributors-artists, curators, art historians, and anthropologists- speak from the standpoints of indigenous systems of knowledge as well as from western epistemologies and their institutions, interrogating what it means to "own culture" from these standpoints. The case studies in this volume contribute to notions of "ownership" and "possession" through the lens of art and its associated rights to production, circulation, performance, and representation.
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