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Books > Arts & Architecture > History of art / art & design styles > Art styles not limited by date > Art of indigenous peoples
Although cave paintings from the European Ice Age have has gained
considerable renown, for many people the term "rock art" remains
full of mystery. Yet it refers to perhaps the oldest form of
artistic endeavor, splendid examples of which exist on all
continents and from all eras. Rock art stretches in time from about
forty thousand to less than forty years ago and can be found from
the Arctic Circle to the tip of South America, from the caves of
southern France to the American Southwest. It includes animal and
human figures, complex geometrical forms, and myriad mysterious
markings.
Illustrated in color throughout, this book provides an engaging
overview of rock art worldwide. An introductory chapter discusses
the discovery of rock art by the West and the importance of
landscape and ritual. Subsequent chapters survey rock art sites
throughout the world, explaining how the art can be dated and how
it was made. The book then explores the meaning of these often
enigmatic images, including the complex role they played in
traditional societies. A final chapter looks at the threats posed
to rock art today by development, tourism, pollution, and other
dangers, and discusses current initiatives to preserve this
remarkable heritage.
Bringing Latin American popular art out of the margins and into the
center of serious scholarship, this book rethinks the cultural
canon and recovers previously undervalued cultural forms as art.
Juan Ramos uses ""decolonial aesthetics,"" a theory that frees the
idea of art from Eurocentric forms of expression and philosophies
of the beautiful, to examine the long decade of the 1960s in Latin
America-- time of cultural production that has not been studied
extensively from a decolonial perspective. Ramos looks at examples
of ""antipoetry,"" unconventional verse that challenges canonical
poets and often addresses urgent social concerns. He analyzes the
militant popular songs of nueva cancion by musicians including
Mercedes Sosa and Violeta Parra. He discusses films that use
visually shocking images and melodramatic effects to tell the
stories of Latin American nations. These art forms, he argues,
appeal to an aesthetic that involves all the senses. Instead of
being outdated byproducts of their historical moments, they
continue to influence Latin American cultural production today.
Explores how American Indian artists have responded to the
pervasive misunderstanding of indigenous peoples as cultural
minorities in the United States and Canada Contemporary indigenous
peoples in North America confront a unique predicament. While they
are reclaiming their historic status as sovereign nations,
mainstream popular culture continues to depict them as cultural
minorities similar to other ethnic Americans. These depictions of
indigenous peoples as "Native Americans" complete the broader
narrative of America as a refuge to the world's immigrants and a
home to contemporary multicultural democracies, such as the United
States and Canada. But they fundamentally misrepresent indigenous
peoples, whose American history has been not of immigration but of
colonization. Monika Siebert's Indians Playing Indian first
identifies this phenomenon as multicultural misrecognition,
explains its sources in North American colonial history and in the
political mandates of multiculturalism, and describes its
consequences for contemporary indigenous cultural production. It
then explores the responses of indigenous artists who take
advantage of the ongoing popular interest in Native American
culture and art while offering narratives of the political
histories of their nations in order to resist multicultural
incorporation. Each chapter of Indians Playing Indian showcases a
different medium of contemporary indigenous art-museum exhibition,
cinema, digital fine art, sculpture, multimedia installation, and
literary fiction-and explores specific rhetorical strategies
artists deploy to forestall multicultural misrecognition and
recover political meanings of indigeneity. The sites and artists
discussed include the National Museum of the American Indian in
Washington, DC; filmmakers at Inuit Isuma Productions; digital
artists/photographers Dugan Aguilar, Pamela Shields, and Hulleah
Tsinhnahjinnie; sculptor Jimmie Durham; and novelist LeAnne Howe.
This book contains a selection of research, spanning two decades,
from 1994 (the Wits conference on the San and their rock art,
organised by David Lewis-Williams) to August 2011 with Pippa
Skotnes and Jeanette Deacon’s 'The courage of //Kabbo' conference
(University of Cape Town), celebrating the centenary of the
publication of Bleek and Lloyd’s Specimens of Bushman Folklore in
1911.
Kachinas are supernatural beings from Indian religion and this
selected bibliography lists over 100 references to magazine
articles and books with information about them. Kachinas are often
represented in carved and painted Indian dolls. The book contains
an essay that explains the various aspects and meanings of the
Kachina in Indian life and gives historical and philosophical
background information. Eight full-page black and white drawings by
New Mexico artist, Glen Strock, illustrate the text. Collectors
will find this book invaluable and for the general reader it offers
an introduction to a popular Indian art form and mythological
figure.
Artist. Activist. Curator. Joane Cardinal-Schubert was a phenomenal
talent. Her work recognizes the social and political ramifications
of lived Indigenous experience, exposing truths about history,
culture, and the contemporary world. She was a teacher and mentor,
supporting those who struggle against the legacies of colonial
history. She was an activist for Indigenous sovereignty, advocating
for voices that go unheard. Despite significant personal and
professional successes and monumental contributions to the Calgary
artistic community, Cardinal-Shubert remains under-recognized by a
broad audience. This richly illustrated, intensely personal book
celebrates her story with intimacy and insight. Combining personal
recollection with art history, academic reading with anecdote and
story, The Writing on the Wall is a crucial contribution to
Indigenous and Canadian art history. Cardinal-Shubert's work leads
the conversation, embracing the places where the personal, the
political, and the artistic meet.
Retrace the steps it took for the most famous potter in the
Southwest, Maria Martinez, to produce one of her prized pieces of
black on black pottery. The history of Maria, her husband Julian,
and son Popovia Da, is noted. The book is a tribute to this family,
renowned for its contributions to classic pottery.
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