Your cart is empty
Indigenous museums and cultural centres have sprung up across the developing world, and particularly in the Southwest Pacific. They derive from a number of motives, ranging from the commercial to the cultural political (and many combine both). A close study of this phenomenon is not only valuable for museological practice but, as has been argued, it may challenge our current bedrock assumptions about the very nature and purpose of the museum. This book looks to the future of museum practice through examining how museums have evolved particularly in the non-western world to incorporate the present and the future in the display of culture. Of particular concern is the uses to which historic records are put in the service of community development and cultural renaissance.
Hominids have always been obsessed with representing their own bodies. The first "selfies" were prehistoric negative hand images and human stick figures, followed by stone and ceramic representations of the human figure. Thousands of years later, moving via historic art and literature to contemporary social media, the contemporary term "selfie" was self-generated. The book illuminates some "selfies". This collection of critical essays about the fixation on the human self addresses a multi-faceted geographic set of cultures -- the Iberian Peninsula to pre-Columbian America and Hispanic America -- analysing such representations from medical, literal and metaphorical perspectives over centuries. Chapter contributions address the representation of the body itself as subject, in both visual and textual manners, and illuminate attempts at control of the environment, of perception, of behaviour and of actions, by artists and authors. Other chapters address the body as subjected to circumstance, representing the body as affected by factors such as illness, injury, treatment and death. These myriad effects on the body are interpreted through the brushes of painters and the pens of authors for social and/or personal control purposes. The essays reveal critics' insights when "selfies" are examined through a focused "lens" over a breadth of cultures. The result, complex and unique, is that what is viewed -- the visual art and literature under discussion -- becomes a mirror image, indistinguishable from the component viewing apparatus, the "lens".
In 1971, a hopeful young art teacher drove the long, lonely road from Alice Springs to the Aboriginal outpost settlement at Papunya. His name was Geoffrey Bardon. Eighteen months later he left Papunya, defeated by the hostile white authority. But his legacy was the beginnings of the Western Desert Painting Movement and the inspiration for this fascinating account of Bardon's experiences and the Aboriginal art of Papunya. What started as an exercise to encourage the Aboriginal schoolchildren to record their sand patterns and games grew to involve, at the peak of creativity, as many as 30 tribal men and elders. With Geoffrey Bardon's encouragement, these men worked to preserve their traditional Dreamings and stories in paint. The artistic movement unleashed at Papunya spread over Central Australia and has since achieved international acclaim. Papunya: A Place Made After the Story is a first-hand account of the artists and the works emanating from Papunya. Bardon's exquisitely recorded notes and drawings are here reproduced showing his extensive documentation of the early stages of the painting movement. This book features over 500 paintings, drawings and photographs from Bardon's personal archive. Many of the images have never been seen before and many of the paintings are now lost. The publication of this material is an unprecedented achievement, and Bardon can now be seen as the catalyst he was for a powerfully modern expression of an ancient indigenous way of seeing the world.
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.
Guide to petroglyphs found in Arizona, Colorado, Utah and New Mexico. Includes drawings and possible interpretations.
This is the companion volume to the authors' groundbreaking Symmetries of Culture, the classic reference for symmetry analysis of pattern for anthropologists, archaeologists, art historians, mathematicians, and designers. Central to symmetry analysis is the use of symmetry in the more precise sense of its geometrical isometries in contrast to its everyday meaning of balance. For this volume, Donald Crowe and Dorothy Washburn invited colleagues from several disciplines to apply the method of symmetry analysis to actual case studies from cultures around the world. The essays compiled here explore how cultural information is embedded in the symmetrical structure of pattern. From descriptions of patterns on objects as diverse as Nasca embroideries, Ica Valley ceramics, Quechua textiles, Yombe mats, and Zulu beadwork, as well as from Amazonian shamanic therapy, ceramic design among the Shipibo, and Turkish Yoeruk weaving, the contributors reveal how the symmetrical structures in the patterns describe aspects of each culture's fundamental principles for living in the world. This approach offers a profoundly fresh way to read the meaning in pattern by arguing that pattern communicates through the structural metaphors embedded in the symmetrical relationship of the pattern parts. The two volumes together offer readers a revolutionary new window into the communicative importance of design.
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.
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.
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.
A companion to The Archaeology of Rock-Art (Cambridge, 1998), this new collection addresses the most important component of the rock-art panel: its landscape. The book draws together the work of many well-known scholars from key regions of the world known for rock-art and rock-art research. It provides insight into the location and structure of rock-art and its role within the landscapes of ancient worlds.
The unique cultural landscape of southern Africa (Nambia, Zimbabwe, Botswana, Mozambique and South Africa) is a highly dynamic and complex area where old traditions are confronted by explosive social and political upheavals. The resulting contradictions and conflicts stimulate a directions as well as ancient roots. The collection of highly varied essays by knowledgeable experts on Africa ranges from historical and political problems to questions of artistic production and of how to deal with culture and nature in the face of industrialisation and globalisation. Art is one of the major subjects, and the contemporary artistic activities, including photography. The publication presents a picture of a vigorously alive southern Africa, contradicting common western Cliches which regard the region as having no art and solely being riddled with problems of post-apartheid, crime and AIDS.
During much of the nineteenth century, paintings functioned as the Plains Indians' equivalent to written records. The majority of their paintings documented warfare, focusing on specific war deeds. These pictorial narratives-appearing on hide robes, war shirts, tipi liners, and tipi covers-were maintained by the several dozen Plains Indians tribes, and they continue to expand historical knowledge of a people and place in transition. War Paintings of the Tsuu T'ina Nation is a study of several important war paintings and artifact collections of the Tsuu T'ina (Sarcee) that provides insight into the changing relations between the Tsuu T'ina, other plains tribes, and non-Native communities during the nineteenth and twentieth centuries. Arni Brownstone has meticulously created renderings of the paintings that invite readers to explore them more fully. All known Tsuu T'ina paintings are considered in the study, as are several important collections of Tsuu T'ina artifacts, with particular emphasis on five key works. Brownstone's analysis furthers our understanding of Tsuu T'ina pictographic war paintings in relation to the social, historical, and artistic forces that influenced them and provides a broader understanding of pictographic painting, one of the richest and most important Native American artistic and literary genres.
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.
The beautiful diversity of Hopi Kachina dolls is pictorially presented to show past, present, and evolving styles. These carved representations of ceremonial figures taking part in celebration of the Kachina religion are highly collected by Indian and white peoples alike. This book serves to explain, compare, and present the variety of dolls that are found through color pictures, line drawings and a concise text. The carvers are given a great deal of recognition throughout the book as the discussion covers the environment, tools, and prominence of these artists. An appendix lists 495 living artists. An introduction is by Frederick Dockstader, former director to the Museum of the American Indian in New York. Mr. Bromberg, a trader among the Hopi, shares his accumulated respect for the culture and people who produce them. His chapters evolved to answer questions by collectors and gallery workers. The result is a first-hand analysis of this contemporary and still changing art form that has both religious and commercial impact on the Hopi carvers. Only a trusted, sympathetic student of the Hopi culture could have compiled the background interpretations of the dolls and won the respect of the carvers.
Ibrahim El-Salahi is one of the most influential figures in Sudanese modern art. Through his extraordinary artwork and remarkable writing and art criticism, he has made foundational contributions to the modernist movements in Africa and the Arab world. In his paintings, drawings, and illustrations, he engages with an array of traditional African, Arab, and Islamic visual sources as well as European art movements. His unique style transcends geographic and cultural boundaries and has inspired artists in Sudan and elsewhere in Africa for generations.
El-Salahi's art offers profound possibilities for understanding African and Arab modernisms and repositioning them within the context of a broader, global modernity. This book brings together more than five decades of his work, tracing a personal journey that originates in Sudan and leads to the artist's international schooling, his detention as a political prisoner in his home country, his self-imposed exile in Qatar, and his current life in the United Kingdom.
Salah M. Hassan is director of the Africana Studies and Research Center and professor of African and African Diaspora art history at Cornell University. Other contributors include Sarah Adams, Chika Okeke-Agulu, Iftikhar Dadi, Hassan Musam and El-Salahi.
This timely new book surveys the artistic traditions of indigenous North America, from those of ancient cultures such as Adena, Hopewell, Mississippian, and Anasazi to the work of modern artists like Earnest Spybuck, Fred Kabotie, Dick West, T. C. Cannon, and Gerald McMaster. The text is organized geographically and draws upon the testimonies of oral tradition, Native American history, and the latest research in North American archaeology. Recent art historical scholarship has helped restore, to a large degree, some understanding of the identities and cultural roles of Native American artists and the social contexts of the objects they created. Native American art is often discussed simply as a cultural production rather than the work of individual artists who made objects to fufill social and cultural purposes; this book focuses as much as possible on the artists themselves, their cultural identities, and the objects they made even when the names of the individual artists remain unrecoverable. But this is not a book of artists' biographies. It seeks to inform a general readership about the history of Native American art with a lively narrative full of historical incident and illustrated with provocative and superlative works of art. It explores the tension between artistic continuities spanning thousands of years and the startlingly fresh innovations that resulted from specific historical circumstances. The narrative weaves together so-called "traditional" arts, "tourist" arts, and Native American art of today by taking the point of view of their particular and local histories the artists, their communities, and audiences. Among the many cultures included are: Arapaho, Athapascan, Cherokee, Cheyenne, Chumash, Hopi, Hupa/Karok, Inuit, Iroquois, Kwakiutl, Lakota, Miwok, Navajo, Ojibwa, Pomo, Tlingit, Tsimshian, Uypik, and Zuni. "
A study of the Torajan ricebarn, a traditional Indonesian structure where the rice crop is stored, and where the main social life of the village takes place. This paper was stimulated by the construction of a ricebarn for the Museum of Mankind at the British Museum in 1987.
Facing the monumental issues of our time.In a 2012 performance piece, Rebecca Belmore transformed an oak tree surrounded by monuments to colonialism in Toronto's Queens Park into a temporary "non-monument" to the Earth.For more than 30 years, she has given voice in her art to social and political issues, making her one of the most important contemporary artists working today.Employing a language that is both poetic and provocative, Belmore's art has tackled subjects such as water and land rights, women's lives and dignity, and state violence against Indigenous people. Writes Wanda Nanibush, "by capturing the universal truths of empathy, hope and transformation, her work positions the viewer as a witness and encourages us all to face what is monumental."Rebecca Belmore: Facing the Monumental presents 28 of her most famous works, including Fountain, her entry to the 2005 Venice Biennale, and At Pelican Falls, her moving tribute to residential school survivors, as well as numerous new and in-progress works. The book also includes an essay by Wanda Nanibush, Curator of Indigenous Art at the AGO, that examines the intersection of art and politics. It will accompany an exhibition at the Art Gallery of Ontario scheduled from 12 July to 21 October 2018.Rebecca Belmore is one of Canada's most distinguished artists. She has won the Hnatyshyn Award (2009), the Governor General's Award in Visual and Media Arts (2013), and the Gershon Iskowitz Prize (2016). A member of Lac Seul First Nation, she was the first Aboriginal woman to represent Canada at the Venice Biennale. She has also participated in more than 60 one-person and group exhibitions around the world.
Believed to represent a king, the beautiful bronze head in the British Museum is one of seventeen objects unearthed in 1938-9 at the town of Ife in Nigeria. The stunning naturalism and sophisticated craftsmanship of the objects challenged Western perceptions of African art at the time, which were largely based around abstract wooden figures. It was consequently assumed at first that they must have been made by Europeans or under European influence. In time, however, they came to be seen as wholly African, probably dating from the twelfth to fourteenth centuries, and representative of a hitherto unknown artistic tradition on that continent. The bronze head from Ife is one of the most prized objects in the British Museum's African collections. This book tells its fascinating story, from its discovery to its reception and exhibition in Britain, where it influenced and inspired several major artists. The author also describes how the head has taken on a new life and significance in its homeland, where images of it have abounded since Nigeria declared independence from Britain in 1960.
"A rich pictorial profile of the twentieth-century Chickasaw experience"
When Oklahoma achieved statehood in 1907, the U.S. government declared Chickasaw titles to tribal lands null and void. The Chickasaw Nation was, in effect, legally abolished. Yet for the next sixty years, the Chickasaws struggled to regain their sovereign identity, and eventually, in 1970, Congress enacted legislation allowing the Five Tribes, including the Chickasaws, to elect their own governing officers. In 1983, the Chickasaws adopted a new constitution for their nation.
In "Chickasaw Renaissance," Phillip Carroll Morgan profiles the experiences of the Chickasaw people during this tumultuous period in their history, from the dissolution of their government to the resurgence of their nation. A sequel to the award-winning book "Chickasaw: Unconquered and Unconquerable," this equally beautiful volume features more than 100 new images by celebrated Oklahoma photographer David G. Fitzgerald. His stunning portraits of tribal elders and numerous other subjects are supplemented by historical photographs from the Chickasaw Nation archives.
To construct his narrative, Morgan drew on the extensive research of a team of scholars, who interviewed Chickasaw elders and provided valuable information from tribal archives. The result is an enlightening exploration of the impact of changing federal policies on the Chickasaws and other Native tribes of Oklahoma, and a tribute to the resilience of these peoples as they grappled with the major events of the twentieth century.
"Living Our Cultures, Sharing Our Heritage: The First Peoples of
Alaska" features more than 200 objects representing the masterful
artistry and design traditions of twenty Alaska Native peoples.
Based on a collaborative exhibition created by Alaska Native
communities, the Smithsonian's National Museum of Natural History,
the Smithsonian's National Museum of the American Indian, and the
Anchorage Museum at Rasmuson Center, this richly illustrated volume
celebrates both the long-awaited return of ancestral treasures to
their native homeland and the diverse cultures in which they were
Delve into the origins and contemporary interpretations of various styles of non-figural Zuni jewelry designs, including nugget work, cluster work, petit point, needle point, snake eye, and channel work. This groundbreaking study establishes the identities of many Zuni artists from the 1940s, '50s, and '60s, and showcases their turquoise and coral pins, bracelets, bolo ties, and other ornaments. Featured are more than fifteen pieces each by masters, past and present, such as Doris and Warren Ondelacy, Alice and Duane Quam, Fannie Weebothee Ondelacy, Julie Ondelacy Lahi, Lee and Mary Weebothee, Alice Leekya Homer, and Ellen Quandelacy. More than three hundred vibrant color photos reveal subtle variations that indicate each master s distinctive style. Published here, for the first time, are cluster work bracelets by Leekya Deyuse, the single most famous jeweler in the Southwest, and Dan Simplicio s nugget work, along with ways to distinguish his from other artists works."
An Engraved Landscape is a contextual analysis of a substantial new corpus of engravings from the Wadi al-Ajal, situated in the Central Saharan region of south west Libya. The wadi is renowned as the heartland of the Garamantian civilization, which emerged from local mobile Pastoral communities in the 1st millennium BC, and dominated trans-Saharan trade and politics for over a thousand years. Extensive archaeological and palaeoenvironmental investigations in recent years have provided detailed insight into the later prehistory and protohistory of the wadi and surrounding areas. However, prior to the fieldwork detailed in this volume, only a handful of carvings had been recorded in the wadi. This volume is based on systematic survey, conducted between 2004 and 2009, which recorded around 2,500 previously unknown or unpublished engraved and inscribed rock surfaces. All forms of engraving, whether figurative or surface markings, were viewed as significant residues of human interaction with the rock surface and were recorded. The resulting database provides an opportunity to analyse the engravings in relation to their changing physical and cultural contexts, and the discussion offers a fresh interpretation of Saharan rock art based on this substantial new evidence. An Engraved Landscape also captures in detail a unique heritage resource that is currently inaccessible and threatened. This record of the fragile engravings provides an important source of information for researchers and students. The Gazetteer is presented in Volume 2.
You may like...
Gifts of Pride and Love - Kiowa and…
Barbara Hail Paperback
Framing First Contact - From Catlin to…
Kate Elliott Hardcover R1,117 Discovery Miles 11 170
A Northern Cheyenne Album - Photographs…
John Woodenlegs Paperback
Making History - The IAIA Museum of…
Institute of American Indian Arts Paperback R1,140 Discovery Miles 11 400
Storied Stone - Indian Rock Art in the…
Linea Sundstrom Paperback
Painted Journeys - The Art of John Mix…
Peter H. Hassrick, Mindy N. Besaw Paperback R1,104 Discovery Miles 11 040
Surviving Desires - Making and Selling…
Henrietta Lidchi Paperback
Picturing Indian Territory - Portraits…
B. Byron Price Hardcover
Paintings from Mughal India
Andrew Topsfield Paperback R300 Discovery Miles 3 000
A Strange Mixture - The Art and Politics…
Sascha T Scott Hardcover R1,380 Discovery Miles 13 800