Tiwi Textiles: Design, Making, Process tells the story of the innovative Tiwi Design centre on Bathurst Island in northern Australia, dedicated to the production of hand-printed fabrics featuring Indigenous designs, from the 1970s to today. Written by early art coordinator Diana Wood Conroy with oral testimony from senior Tiwi artist Bede Tungutalum, who established Tiwi Design in 1969 with fellow designer Giovanni Tipungwuti, the book traces the beginnings of the centre, and its subsequent place in the Tiwi community and Australian Indigenous culture more broadly. Bringing together many voices and images, especially those of little-known older artists of Paru and Wurrumiyanga (formerly Nguiu) on the Tiwi Islands and from the Indigenous literature, Tiwi Textiles features profiles of Tiwi artists, accounts of the development of new design processes, insights into Tiwi culture and language, and personal reflections on the significance of Tiwi Design, which is still proudly operating today.

Plains Indian ledger art grew out of the Native tradition of recording and chronicling through art important exploits by warriors and chiefs, among them images of war and hunting, that would adorn tipis and animal hides. These were seen as historical markers. But Native life on the Great Plains underwent tremendous change following the American Civil War, when the American conquest of the West was in full gear. In just a few decades, access to the hides of diminishing herds of bison, deer, antelope, and elk became more difficult and eventually impossible with reservation life. Native people creatively turned to the easily available ledger books of settlers, traders, and military men as their new canvases. The ledger art drawings of the late nineteenth and early twentieth centuries are revered today for their depiction of Native life during the difficult transition to life on the reservation. The ledger drawings thus became a singularly important way for Native artists to preserve tribal history and to serve as a new kind of personal socio-political expression. Dwayne Wilcox, who grew up on the Pine Ridge Reservation and is a member of the Oglala Lakota Nation, became interested in ledger art at an early age. He was influenced by the work of Lakota ledger artists such as Amos Bad Heart Bull (1869-1913), but he always sought to defy stereotypical notions of Native life and history and create his own artistic vision. Dwayne eventually focused on humor as his way to comment on the objectification of Native Americans. Skilled as an artist beyond measure, Dwayne's ledger art drawings win major prizes and are sought by museums and collectors who see in him a true artist. Visual/Language is Dwayne's first book, and it was created as a collaborative effort with curator Karen Miller Nearburg, who provides an enlightening introduction to his work. This book will surely penetrate the heart and soul and mind of all who read it.

Winner of the Ralph J. Gleason Music Book Award, Rock & Roll Hall of Fame Winner of the American Book Award, Before Columbus Foundation Winner of the PEN Oakland-Josephine Miles Award Winner of the MAAH Stone Book Award A Pitchfork Best Music Book of the Year A Rolling Stone Best Music Book of the Year A Boston Globe Summer Read "Brooks traces all kinds of lines...inviting voices to talk to one another, seeing what different perspectives can offer, opening up new ways of looking and listening." -New York Times "A wide-ranging study of Black female artists, from elders like Bessie Smith and Ethel Waters to Beyonce and Janelle Monae...Connecting the sonic worlds of Black female mythmakers and truth-tellers." -Rolling Stone "A gloriously polyphonic book." -Margo Jefferson, author of Negroland How is it possible that iconic artists like Aretha Franklin and Beyonce can be both at the center and on the fringe of the culture industry? Daphne Brooks explores more than a century of music archives to bring to life the critics, collectors, and listeners who have shaped our perceptions of Black women both on stage and in the recording studio. Liner Notes for the Revolution offers a startling new perspective, informed by the overlooked contributions of other Black women artists. We discover Zora Neale Hurston as a sound archivist and performer, Lorraine Hansberry as a queer feminist critic of modern culture, and Pauline Hopkins as America's first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism in this long overdue celebration of Black women musicians as radical intellectuals.

Along the Atlantic seaboard, from Scotland to Spain, are numerous rock carvings made four to five thousand years ago, whose interpretation poses a major challenge to the archaeologist.
In the first full-length treatment of the subject, based largely on new fieldwork, Richard Bradley argues that these carvings should be interpreted as a series of symbolic messages that are shared between monuments, artefacts and natural places in the landscape. He discusses the cultural setting of the rock carvings and the ways in which they can be interpreted in relation to ancient land use, the creation of ritual monuments and the burial of the dead. Integrating this fascinating yet little-known material into the mainstream of prehistoric studies, Richard Bradley demonstrates that these carvings played a fundamental role in the organization of the prehistoric landscape.

Along the Atlantic seaboard, from Scotland to Spain, are numerous rock carvings made four to five thousand years ago, whose interpretation poses a major challenge to the archaeologist.
Richard Bradley discusses the cultural settings of the rock carvings, the ways in which they can be interpreted in relation to ancient land use, the creation of ritual monuments and the burial of the dead. Integrating this fascinating yet little-known material into the mainstream of prehistoric studies, IRock Art and the Prehistory of Atlantic Europe demonstrates that these carvings played a fundamental role inthe organization of the prehistoric landscape.

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.

The bead played a vital role in Pueblo Indian jewelry design, and its influence continues today in modernist American design. In these pages, featuring more than 250 breathtaking photos, renowned expert Baxter integrates her decades of research with updated findings. Beads were made in the prehistoric American Southwest by the ancestors of the Pueblo Indians, and survived into the historic era. Bead jewelry creations in shell, stone, and silver are important in the Native American jewelry marketplace. This book revisits some leading misconceptions about Pueblo jewelry-making in the existing literature. A survey of modern Pueblo jewelry innovation confirms that its design is second to none, and discusses how Pueblo design meshed with American mid-century modernist expression. Today's Pueblo jewelers, also featured here, continue to offer invention and originality.

Why did the ancient artists create paintings and engravings? What did the images mean? This careful study of rock art motifs in the Trans-Pecos area of Texas and a small area in South Africa demonstrates that there are archaeological and anthropological ways of accessing the past in order to investigate and explain the significance of rock art motifs. Using two disparate regions shows the possibility of comparative rock art studies and highlights the importance of regional studies and regional variations. This is an ideal resource for students and researchers.

This book marks the culmination of Giancarlo M.G. Scoditti's renowned series of publications on the cultural production of the northern Massim island of Kitawa, Papua New Guinea. It explores how the Nowau 'creators of images' conceive of the way their artistic compositions come about - sketching Kitawan cognitive philosophy and aesthetic practice. Describing how for them images grow like the loops of the Nautilus shell - one of nature's prominant demonstrations of the logarithmic spiral and the golden section - Scoditti's analysis of Kitawan cognitive and artistic principles resonates with Levi-Strauss's work on myth and Kant's notion of the mental schema, and makes a ground-breaking contribution to our understanding of the 'oral mind'.

Building a beautiful ornamented ‘white canoe’ was a way for the Lau people of Malaita in Solomon Islands to honour the ghosts of their ancestors in the days before they became Christians. This book tells the story of the last of these canoes, built in 1968 by one of the few clans still following their traditional religion, as witnessed by the late anthropologist Pierre Maranda. Maranda observed how the great artistic projects of Malaita were once supported by elaborate ritual procedures and celebrated with community festivals, all richly illustrated here by his photographs. James Tuita was among the Lau boys who played with Maranda’s son and, years later, he visited Quebec to help Maranda with his research. Besides writing the Lau text for this book, he contributes his own acutely felt insights into the radical changes in Lau society during his lifetime and the importance of maintaining its cultural traditions. Ben Burt, a curator at the British Museum, knew Maranda through his own anthropological research in Malaita and worked with James Tuita to ensure that Maranda’s plans for his ethnographic research were realized after his death. It is published, as Maranda intended, in Lau and English languages, to return some of their cultural heritage to the people of Lau, Malaita and Solomon Islands.

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.

A timely re-examination of European engagements with indigenous art and the presence of indigenous art in the contemporary art world. The arts of Africa, Oceania and native America famously inspired twentieth-century modernist artists such as Picasso, Matisse and Ernst. The politics of such stimulus, however, have long been highly contentious: was this a cross-cultural discovery to be celebrated, or just one more example of Western colonial appropriation? This revelatory book explores cross-cultural art through the lens of settler societies such as Australia and New Zealand, where Europeans made new nations, displacing and outnumbering but never eclipsing native peoples. In this dynamic of dispossession and resistance, visual art has loomed large. Settler artists and designers drew upon Indigenous motifs and styles in their search for distinctive identities. Yet powerful Indigenous art traditions have asserted the presence of First Nations peoples and their claims to place, history and sovereignty. Cultural exchange has been a two-way process, and an unpredictable one: contemporary Indigenous art draws on global contemporary practice, but moves beyond a bland affirmation of hybrid identities to insist on the enduring values and attachment to place of Indigenous peoples.

In Indians in Color, noted cultural critic Norman K. Denzin addresses the acute differences in the treatment of artwork about Native America created by European-trained artists compared to those by Native artists. In his fourth volume exploring race and culture in the New West, Denzin zeroes in on painting movements in Taos, New Mexico over the past century. Part performance text, part art history, part cultural criticism, part autoethnography, he once again demonstrates the power of visual media to reify or resist racial and cultural stereotypes, moving us toward a more nuanced view of contemporary Native American life. In this book, Denzin-contrasts the aggrandizement by collectors and museums of the art created by the early 20th century Taos Society of Artists under railroad sponsorship with that of indigenous Pueblo painters;-shows how these tensions between mainstream and Native art remains today; and-introduces a radical postmodern artistic aesthetic of contemporary Native artists that challenges notions of the "noble savage."

If you met a dragon, could you keep it secret? One day in the forest, Winnie discovers the last dragon in the whole world. His fabulous friends, the gryphon, the winged lion and the tree-man, are the last of their kind, too. They'll be in danger if grown-ups discover them. But can Winnie really keep them secret? With its brave, resourceful heroine and magical endangered animals, this exquisite picture book is a perfect story for our time.

The new Jacana series of pocket guides is meant for those who are looking for a brief but lively introduction to a wide range of relevant topics of South African history, politics and biography. Written by some of the leading experts in their fields, the individual volumes are informative and accessible, inexpensive yet well produced, slim enough to put in your pocket and carry with you to read.

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

Aboriginal and Torres Strait Islander Art explores the effects of Queensland government policies on urban First Nation artists. While such art has often been misinterpreted as derivative lesser copies of 'true' Indigenous works, this book unveils new histories and understandings about the mixed legacy left for Queensland Indigenous artists. Gretchen Stolte uses rich ethnographic detail to illuminate how both Aboriginal and Torres Strait Islander artists understand and express their heritage. She specifically focuses on artwork at the Aboriginal and Torres Strait Islander art studio in the Tropical North Queensland College of Technical and Further Education (TNQT TAFE), Cairns. Stolte's ethnography further develops methodologies in art history and anthropology by identifying additional methods for understanding how art is produced and meaning is created.

Focusing on the collection of art from Liberia and Sierra Leone assembled by the late museum curator and scholar William Siegmann, this book beautifully documents works in stone, wood, metal, ivory, and cloth created between the 14th and 20th centuries by artists from more than a dozen West African ethnic groups.

Contributors include Mariane Ferme, Barbara C. Johnson, Christine Kreamer, Nanina Guyer, Daniel Reed, and Jan-Lodewijk Grootaers.

Expressing stories of Native American survival and resistance, Reclaiming Home: Contemporary Seminole Art explores the work of 12 contemporary artists of the Seminole diaspora. This stunning volume illustrates how Seminole and mixed-heritage artists combine traditional skills and techniques - knowledge passed down to them from elders, family members, and ancestors - with innovative modes of expression and varied materials, including photo-based and digital collage techniques, performance, video, installation art, and mixed media. Their work engages concepts of hybridity and image-making and highlights social issues impacting Native communities today, from environmental protection to public health imperatives. Accompanied by critical and personal essays by leading scholars as well as artists' statements and an interview, Reclaiming Home: Contemporary Seminole Art proposes contemporary works of art as powerful expressions of Native sovereignty.

Winner of the Arnold Rubin Outstanding Publication Award from the Arts Council of the African Studies Association The Benue River Valley is the source of some of the most abstract, dramatic, and inventive sculpture in sub-Saharan Africa. A vast region, the Valley extends from the heart of present-day Nigeria eastward to its border with Cameroon, and is home to a large number of ethnic and linguistic groups, all of whom have produced sculptures that are remarkable for their variety. This book brings together figurative wood sculptures and ceramic vessels, masks, and elaborate bronze and iron regalia drawn from public and private collections in Europe and the United States, selected to exemplify important typologies within the region, along with many historical photographs. The 18 contributors demonstrate that the stylistic tendencies were constantly evolving due to cultural exchanges, mutual influences, and other points of contact in an area that like the Benue River itself was historically in a state of flux. These objects speak to us not only through their superb formal qualities but also through the circumstances of their being rooted in a turbulent past, situated between war and colonization.

Memory Landscapes of the Inka Carved Outcrops: From Past to Present presents a comprehensive analysis of the carved rocks the Inka created in the Andean highlands during the fifteenth and early sixteenth centuries. It provides an overview of Inka history, a detailed analysis of the techniques and styles of carving, and five comprehensive case studies. It opens in the Inka capital, Cusco, one of the two locations where the geometric style of Inka carving was authored by the ninth ruler Pachakuti Inka Yupanki. The following chapters move to the origin places on the Island of the Sun in Lake Titicaca and at Pumaurqu, southwest of Cusco, where the Inka constructed the emergence of the first members of their dynasty from sacred rock outcrops. The final case studies focus upon the royal estates of Machu Picchu and Chinchero. Machu Picchu is the second site where Pachakuti appears to have authored the geometric style. Chinchero was built by his son, Thupa Inka Yupanki, who adopted his father's strategy of rock carving and associated political messages. The methodology used in this book reconstructs relational networks between the sculpted outcrops, the land and people and examines how such networks have changed over time. The primary focus documents the specific political context of Inka carved rocks expanded into the performance of a stone ideology, which set Inka stone cults decidedly apart from earlier and later agricultural as well as ritual uses of empowered stones. When the Inka state formed in the mid-fifteenth century, carved rocks were used to mark local territories in and around Cusco. In the process of imperial expansion, selected outcrops were sculpted in peripheral regions to map Inka presence and showcase the cultivated and ordered geography of the state.

Sandpainting has it origin in the religious tradition and practice of the Navajo people. It forms a central part of their religious chants, being a place where Earth People and Holy People come into harmony, giving healing and protection. Sandpainting is understood as being very powerful, and for many years it was deemed unwise and even dangerous not to erase the paintings when the ritual was completed. In the course of the twentieth century this attitude has modified allowing for many representations to be made, while still not violating the religious traditions. Sandpainting thus have come to be an internationally appreciated and collected art form. In this newly revised and expanded volume, over 400 sandpaintings are illustrated in full color. They range from the most traditional to the new forms that are being developed today. The sandpaintings are organized by artist, making this an important reference for collectors.

A system of myths, symbols, and rituals, dating back to the Paleolithic and Neolithic, survives in present-day imagery. In exploring this system, special attention is drawn to the linkage between ancient and contemporary civilizations of Eurasia and Mesoamerica, as seen in their cosmology, and expressed in common mythological and iconographic themes. The author examines contemporary Middle American and eastern European textiles, especially women's garments, that contain an elaborated sacred code of symbols, and include remnants of the four horizontal directions, and the three vertical worlds that portray the structure of the universe. The cosmology contained in patterns around the world denotes striking parallels that attest to internal connections between different cultures, beyond time and place.

Memory Landscapes of the Inka Carved Outcrops: From Past to Present presents a comprehensive analysis of the carved rocks the Inka created in the Andean highlands during the fifteenth and early sixteenth centuries. It provides an overview of Inka history, a detailed analysis of the techniques and styles of carving, and five comprehensive case studies. It opens in the Inka capital, Cusco, one of the two locations where the geometric style of Inka carving was authored by the ninth ruler Pachakuti Inka Yupanki. The following chapters move to the origin places on the Island of the Sun in Lake Titicaca and at Pumaurqu, southwest of Cusco, where the Inka constructed the emergence of the first members of their dynasty from sacred rock outcrops. The final case studies focus upon the royal estates of Machu Picchu and Chinchero. Machu Picchu is the second site where Pachakuti appears to have authored the geometric style. Chinchero was built by his son, Thupa Inka Yupanki, who adopted his father's strategy of rock carving and associated political messages. The methodology used in this book reconstructs relational networks between the sculpted outcrops, the land and people and examines how such networks have changed over time. The primary focus documents the specific political context of Inka carved rocks expanded into the performance of a stone ideology, which set Inka stone cults decidedly apart from earlier and later agricultural as well as ritual uses of empowered stones. When the Inka state formed in the mid-fifteenth century, carved rocks were used to mark local territories in and around Cusco. In the process of imperial expansion, selected outcrops were sculpted in peripheral regions to map Inka presence and showcase the cultivated and ordered geography of the state.