The story of the Chickasaw Nation is one of survival, persistence, triumph, achievement, and beauty. It is the story of a people determined to not only survive -- but to prosper and live well. Built with this fundamental ideal, Chickasaw government stands on a foundation that serves its people with the ebb and flow of history's events. It is a chronicle of unsurpassed natural splendor and spiritual connectivity to the land that can never be permanently separated from the hearts of Chickasaws. It is a collective mind-set and determination rooted in community and loyalty to family. Like the Hummingbird Warrior, it is ever vigilant, industrious, energetic and adaptable." -- Bill Anoatubby, Governor of the Chickasaw Nation. From their homelands (what is now Alabama, Mississippi, Kentucky, and Tennessee), to the removal of the Chickasaws to Indian Territory, and to their thriving nation of today, the Chickasaw people represent one of the most resilient cultures in American history. CHICKASAW: UNCONQUERED AND UNCONQUERABLE tells their own incredible story through vivid photography and rich essays. Grounded in their deep devotion to family and community, the Chickasaw's cultural identity is at the root of each individual. Featuring the award-winning photography of David Fitzgerald and essays by Chickasaw writers Jeannie Barbour, American Book Award-winner Amanda Cobb, and Linda Hogan, the Chickasaw's unique history and identity emerge in this authoritative book. Investing in their future while thriving as a nation today continues to make them truly unconquered and unconquerable.

First Nation's artist Robert E Stanley Sr shares his knowledge and technique in rendering classic Northwest Native drawings. Now you too, can learn to draw some of the legendary animals of the First Nation's tribes, by learning Robert's technique's passed down to him from generation to generation.

In 1971 a small group of Aboriginal artists from Australia's remote Central and Western Deserts changed the face of global art history. The township of Papunya was founded in 1959 as a settlement for Aboriginal people who were relocated from their homelands. Living in cramped conditions, the community brought together people of diverse backgrounds and languages. Painting offered a way of asserting authority: of explaining who the townspeople were and where they came from amid this chaotic melange of strangers. Using ancient iconographies rarely seen by outsiders, an artistic renaissance sprang forth as artists defiantly asserted themselves against the uncertainty of colonial displacement. Irrititja Kuwarri Tjungu (Past and Present Together) celebrates the fiftieth anniversary of Papunya Tula Artists, from the very first experiments on scraps of cardboard, linoleum, and Masonite through to the epic abstract paintings that are showcased internationally today. Motivated by the artists' desire to preserve and transmit their cultural knowledge, the movement quickly grew into a powerful medium for economic and social justice. From humble beginnings, a multimillion-dollar industry would emerge, changing the face of contemporary art and creating a powerful voice for Indigenous artists.

In this book, Suzanne Preston Blier examines the intersection of art, risk and creativity in early African arts from the Yoruba center of Ife and the striking ways that ancient Ife artworks inform society, politics, history and religion. Yoruba art offers a unique lens into one of Africa's most important and least understood early civilizations, one whose historic arts have long been of interest to local residents and Westerners alike because of their tour-de-force visual power and technical complexity. Among the complementary subjects explored are questions of art making, art viewing and aesthetics in the famed ancient Nigerian city-state, as well as the attendant risks and danger assumed by artists, patrons and viewers alike in certain forms of subject matter and modes of portrayal, including unique genres of body marking, portraiture, animal symbolism and regalia. This volume celebrates art, history and the shared passion and skill with which the remarkable artists of early Ife sought to define their past for generations of viewers.

Five decades of work by groundbreaking Indigenous artist Jaune Quick-to-See Smith Throughout her career as artist, activist, and educator, Jaune Quick-to-See Smith (b. 1940) has forged a personal yet accessible visual language she uses to address environmental destruction, war, genocide, and the misreading of the past. An enrolled Salish member of the Confederated Salish and Kootenai Nation, Smith cleverly deploys elements of abstraction, neo-expressionism, and pop, fusing them with Indigenous artistic traditions to upend commonly held conceptions of historical narratives and illuminate absurdities in the formation of dominant culture. Her drawings, prints, paintings, and sculptures blur categories and question why certain visual languages attain recognition, historical privilege, and value, reflecting her belief that her “life’s work involves examining contemporary life in America and interpreting it through Native ideology.�  Also central to Smith’s work and thinking is the land and she emphasizes that Native people have always been part of the land: “These are my stories, every picture, every drawing is telling a story. I create memory maps.� The publication illustrates nearly five decades of Smith’s work in all media, accompanied by essays and short texts by contemporary Indigenous artists and scholars on each of Smith’s major bodies of work. Distributed for Whitney Museum of American Art   Exhibition Schedule: Whitney Museum of American Art, New York April 19–August 13, 2023 Modern Art Museum of Fort Worth October 15, 2023–January 7, 2024 Seattle Art Museum February 15–May 12, 2024  

Easy-to-follow diagrams and simple instructions enable even beginners to create a host of striking Native American designs. Color-coded patterns for buffalo, kachinas, eagles and more will add delightful ornamental touches to T-shirts, vests and blouses, lend distinctive touches to handbags, headbands, and belts, and enhance cushion covers, table linens, and other household accessories. An inexpensive do-it-yourself book for successfully completing dozens of beautiful projects for yourself, family and friends.

In 1500 CE, the Inca empire covered most of South America's Andean region. The empire's leaders first met Europeans on November 15, 1532, when a large Inca army confronted Francisco Pizarro's band of adventurers in the highland Andean valley of Cajamarca, Peru. At few other times in its history would the Inca royal leadership so aggressively showcase its moral authority and political power. Glittering and truculent, what Europeans witnessed at Inca Cajamarca compels revised understandings of pre-contact Inca visual art, spatial practice, and bodily expression. This book takes a fresh look at the encounter at Cajamarca, using the episode to offer a new, art-historical interpretation of pre-contact Inca culture and power. Adam Herring's study offers close readings of Inca and Andean art in a variety of media: architecture and landscape, geoglyphs, sculpture, textiles, ceramics, featherwork and metalwork. The volume is richly illustrated with over sixty color images.

Explorations of contemporary art have focused on issues of identity and race for some time. Few, however, have sought to investigate these themes by juxtaposing historical and contemporary frameworks. Black Womanhood examines an especially charged icon--the black female body--and contemporary artists' interventions upon historical images of black women as exotic Others, erotic fantasies, and supermaternal Mammies. This book presents icons of the black female body as seen from three separate but intersecting perspectives: the traditional African, the colonial, and the contemporary global. The display and contemplation of such iconic images addresses complex and often competing forces of self-presentation and the representation of others. Peeling back layers of social, cultural, and political realities, Black Womanhood explores how historic icons inform contemporary artistic responses to the black female body through an examination of themes such as beauty, fertility and sexuality, maternity, and women's roles and power in society. More than 200 historical and contemporary images accompany written contributions by artists, curators and scholars. This compelling volume makes a valuable contribution to ongoing discussions of race, gender, and sexuality by promoting a deeper understanding of past and present readings of black womanhood, both in Africa and in the West.

In this beautifully illustrated volume, the fascinating story of Himalayan art is illuminated through a selection of significant objects from the Neolithic era to today. Paintings, sculptures, drawings, textiles, architectural structures, and more serve as a guide to the historical traditions, rituals, social practices, and art forms from Tibetan, Indian, Nepalese, Bhutanese, Mongolian, and Chinese regions, emphasising cross-cultural exchange with Tibet at the centre. Photographs and essays bring each object to life, introducing readers to the diversity and uniqueness of Tibetan, Himalayan, and Inner Asian art and practices, while highlighting the importance of the region in understanding broader Asia. Selected and authored by an international group of scholars and curators, these 108 objects offer an accessible introduction to this rich yet underrepresented field. This highly anticipated publication is part of the Rubin Museum’s Project Himalayan Art, an initiative to cultivate resources for teaching and learning about Himalayan art and cultures.

This is the first colouring book in the "Northwest Native Arts" series. You can learn about some of the real and legendary creatures revered by the natives of the west coast by using these templates to create spectacular pictures.

Alfred C. Haddon began his study of these native fabrics and garments with the collection in the Sarawak museum, Kuching, of which many of the patterns had been identified. His own collection, supplemented by one purchased for him from Dr Charles Hose, is now in the Cambridge Museum of Archaeology and Ethnology. These sources, together with an examination of the cloths in the British Museum, formed the basis of this memoir, which was originally published by Cambridge University Press in 1936. This was the first time that the beautiful and intimate patterns of Iban textiles had been investigated and illustrated. Laura E. Start contributed a full technical description of the manufacture of the fabrics and provided all the drawings.

The study of the cattle-horned initiation masks of southern Senegal and the Gambia innovatively weaves together art history, history, and cultural anthropology to give a detailed view of Casamance cultures, as they have interacted and changed over the past two centuries. Based on seven field trips to West Africa and fifteen years of research in colonial archives and in museum collections from Dakar to Leipzig, Professor Mark's work presents a subtle interpretation of Casamance horned masquerades, their complex ritual symbolism, and the metaphysical concepts to which they allude. (The masks protect against the power of the kussay, or "sorcerers.") In tracing the cultural interaction and changing identity of the peoples of the Casamance, the author convincingly argues for a new and dynamic approach to art and ethnic identity. Culture should be seen, not as a fixed entity, but as a continuing process. This dynamic model reflects the long history of interaction between Manding and Diola and between Muslim and non-Muslim, a process that has resulted in the creation of hybrid masking forms.

Art and Judaism During the Greco-Roman Period explores the Jewish experience with art during the Greco-Roman period from the Hellenistic period through the rise of Islam. It starts from with the premise that Jewish art in antiquity was a "minority" or "ethnic" art and surveys ways that Jews fully participated in, transformed, and at times rejected the art of their general environment. Art and Judaism focuses upon the politics of identity during the Greco-Roman period, even as it discusses ways that modern identity issues have sometimes distorted and at other times refined scholarly discussion of ancient Jewish material culture. Art and Judaism, the first historical monograph on ancient Jewish art in forty years, evaluates earlier scholarship even as it sets out in new directions. Placing literary sources in careful dialogue with archaeological discoveries, this "New Jewish Archaeology" is an important contribution to Judaic Studies, Religious Studies, Art History, and Classics. The Revised Edition includes a new introduction, additional images, and color plates.

The prehistoric native peoples of the Mississippi River Valley and other areas of the Eastern Woodlands of the United States shared a complex set of symbols and motifs that constituted one of the greatest artistic traditions of the pre-Columbian Americas. Traditionally known as the Southeastern Ceremonial Complex, these artifacts of copper, shell, stone, clay, and wood were the subject of the groundbreaking 2007 book Ancient Objects and Sacred Realms: Interpretations of Mississippian Iconography, which presented a major reconstruction of the rituals, cosmology, ideology, and political structures of the Mississippian peoples. Visualizing the Sacred advances the study of Mississippian iconography by delving into the regional variations within what is now known as the Mississippian Iconographic Interaction Sphere (MIIS). Bringing archaeological, ethnographic, ethnohistoric, and iconographic perspectives to the analysis of Mississippian art, contributors from several disciplines discuss variations in symbols and motifs among major sites and regions across a wide span of time and also consider what visual symbols reveal about elite status in diverse political environments. These findings represent the first formal identification of style regions within the Mississippian Iconographic Interaction Sphere and call for a new understanding of the MIIS as a network of localized, yet interrelated religious systems that experienced both continuity and change over time.

The origins of rock art in Australia are probably as old as that of the hunter-gatherers of Western Europe, well-known for the prehistoric caves of Altamira and Lascaux. That the practice of painting and engraving on rocks continues in parts of northern and central Australia emphasises the importance of this art as a source of visual information for Australia's indigenous communities, Rock art can be 'read' to determine cultural processes and provides a durable record of thousands of years of cultural change. This book is an extensive survey of Australian rock art, presenting detailed case studies revealing the significance of both recent and ancient art for Australia's living indigenous communities. Archaeological data provides evidence of the ways in which rock art traditions have changed over 15,000 or more years in response to changes in the environment, the development of new forms of social organisation and the impact of European colonial settlement.

More than a hundred years ago, anthropologists and other researchers collected and studied hundreds of examples of quillwork once created by Arapaho women. Since that time, however, other types of Plains Indian art, such as beadwork and male art forms, have received greater attention. In Arapaho Women's Quillwork, Jeffrey D. Anderson brings this distinctly female art form out of the darkness and into its rightful spotlight within the realms of both art history and anthropology. This book is the first comprehensive examination of quillwork within Arapaho ritualized traditions. Until the early twentieth century and the disruption of removal, porcupine quillwork was practiced by many indigenous cultures throughout North America. For Arapahos, quillwork played a central role in religious life within their most ancient and sacred traditions. Quillwork was manifest in all life transitions and appeared on paraphernalia for almost all Arapaho ceremonies. Its designs and the meanings they carried were present on many objects used in everyday life, such as cradles, robes, leanback covers, moccasins, pillows, and tipi ornaments, liners, and doors. Anderson demonstrates how, through the action of creating quillwork, Arapaho women became central participants in ritual life, often studied as the exclusive domain of men. He also shows how quillwork challenges predominant Western concepts of art and creativity: adhering to sacred patterns passed down through generations of women, it emphasized not individual creativity, but meticulous repetition and social connectivity - an approach foreign to many outside observers. Drawing on the foundational writings of early-nineteenth-century ethnographers, extensive fieldwork conducted with Northern Arapahos, and careful analysis of museum collections, Arapaho Women's Quillwork masterfully shows the importance of this unique art form to Arapaho life and honors the devotion of the artists who maintained this tradition for so many generations.

Over the course of his career, artist Paul Dyck (1917-2006) assembled more than 2,000 nineteenth-century artworks created by the buffalo-hunting peoples of the Great Plains. Only with its acquisition by the Plains Indian Museum at the Buffalo Bill Center of the West has this legendary collection become available to the general public. Plains Indian Buffalo Cultures allows readers, for the first time, to experience the artistry and diversity of the Paul Dyck Collection - and the cultures it represents. Richly illustrated with more than 160 color photographs and historical images, this book showcases a wide array of masterworks created by members of the Crow, Pawnee, Lakota, Arapaho, Cheyenne, Shoshone, Hidatsa, Mandan, Arikara, Dakota, Kiowa, Comanche, Blackfoot, Otoe, Nez Perce, and other Native groups. Author Emma I. Hansen provides an overview of Dyck's collection, analyzing its representations of Native life and heritage alongside the artist-collector's desire to assemble the finest examples of nineteenth-century Plains Indian arts available to him. His collection invites discussion of Great Plains warrior traditions, women's artistry, symbols of leadership, and ceremonial arts and their enduring cultural importance for Native communities. A foreword by Arthur Amiotte provides further context regarding the collection's inception and its significance for present-day Native scholars. From hide clothing, bear claw necklaces, and shields to buffalo robes, tipis, and decorative equipment made for prized horses, the artworks in the Paul Dyck Collection provide a firsthand glimpse into the traditions, adaptations, and innovations of Great Plains Indian cultures.

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.

The second colouring book in the "Northwest Native Arts" Series. Learn about some of the real and legendary creatures revered by the natives of the west coast by using these templates to create spectacular pictures.

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.

What does rock art say about gender and how can our understanding of gender shape the way that we view rock art? A significant contribution to the relatively unexplored field of gender in rock art, this volume contains a wealth of information for archaeologists, anthropologists, and art historians interested in past gender systems. Hays-Gilpin argues that art is at once a product of its physical and social environment and at the same time a tool of influence in shaping behavior and ideas within a society. Taking this stance, rock art is shown to be very often one of the strongest lines of evidence avaliable to scholars in understanding ritual practices, gender roles, and ideologicial constructs of prehistoric peoples. Subsequently issues of representation and the people who made these forms of art are also discussed.

How West African gold and trade across the Sahara were central to the medieval world The Sahara Desert was a thriving crossroads of exchange for West Africa, North Africa, the Middle East, and Europe in the medieval period. Fueling this exchange was West African gold, prized for its purity and used for minting currencies and adorning luxury objects such as jewelry, textiles, and religious objects. Caravans made the arduous journey by camel southward across the Sahara carrying goods for trade-glass vessels and beads, glazed ceramics, copper, books, and foodstuffs, including salt, which was obtained in the middle of the desert. Northward, the journey brought not only gold but also ivory, animal hides and leatherwork, spices, and captives from West Africa forced into slavery. Caravans of Gold, Fragments in Time draws on the latest archaeological discoveries and art historical research to construct a compelling look at medieval trans-Saharan exchange and its legacy. Contributors from diverse disciplines present case studies that form a rich portrayal of a distant time. Topics include descriptions of key medieval cities around the Sahara; networks of exchange that contributed to the circulation of gold, copper, and ivory and their associated art forms; and medieval glass bead production in West Africa's forest region. The volume also reflects on Morocco's Gnawa material culture, associated with descendants of West African slaves, and movements of people across the Sahara today. Featuring a wealth of color images, this fascinating book demonstrates how the rootedness of place, culture, and tradition is closely tied to the circulation of people, objects, and ideas. These "fragments in time" offer irrefutable evidence of the key role that Africa played in medieval history and promote a new understanding of the past and the present. Published in association with the Mary and Leigh Block Museum of Art, Northwestern University Exhibition Schedule Block Museum of Art, Northwestern University January 26-July 21, 2019 Aga Khan Museum, Toronto September 21, 2019-February 23, 2020 Smithsonian National Museum of African Art, Washington, DC April 8-November 29, 2020