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This book provides an overview of the uses of turquoise in native arts of the Southwest, beginning with the earliest people who mined and processed the stone for use in jewellery, on decorative objects, and as a powerful element in ceremony. In the past, as now, turquoise was valued for its color and beauty but also for its symbolic nature: sky, water, health, protection, abundance. The book traces historical and contemporary jewellery made by Navajo, Zuni, Hopi, and Santo Domingo artisans, and the continuously inventive ways the stone has been worked.
Joanna Grabski and Carol Magee bring together a compelling collection that shows how interviews can be used to generate new meaning and how connecting with artists and their work can transform artistic production into innovative critical insights and knowledge. The contributors to this volume include artists, museum curators, art historians, and anthropologists, who address artistic production in a variety of locations and media to question previous uses of interview and provoke alternative understandings of art.
"Painting Culture" tells the complex story of how, over the past three decades, the acrylic "dot" paintings of central Australia were transformed into objects of international high art, eagerly sought by upscale galleries and collectors. Since the early 1970s, Fred R. Myers has studied--often as a participant-observer--the Pintupi, one of several Aboriginal groups who paint the famous acrylic works. Describing their paintings and the complicated cultural issues they raise, Myers looks at how the paintings represent Aboriginal people and their culture and how their heritage is translated into exchangeable values. He tracks the way these paintings become high art as they move outward from indigenous communities through and among other social institutions--the world of dealers, museums, and critics. At the same time, he shows how this change in the status of the acrylic paintings is directly related to the initiative of the painters themselves and their hopes for greater levels of recognition.
"Painting Culture" describes in detail the actual practice of painting, insisting that such a focus is necessary to engage directly with the role of the art in the lives of contemporary Aboriginals. The book includes a unique local art history, a study of the complete corpus of two painters over a two-year period. It also explores the awkward local issues around the valuation and sale of the acrylic paintings, traces the shifting approaches of the Australian government and key organizations such as the Aboriginal Arts Board to the promotion of the work, and describes the early and subsequent phases of the works' inclusion in major Australian and international exhibitions. Myers provides an account of some of the events related to these exhibits, most notably the Asia Society's 1988 "Dreamings" show in New York, which was so pivotal in bringing the work to North American notice. He also traces the approaches and concerns of dealers, ranging from semi-tourist outlets in Alice Springs to more prestigious venues in Sydney and Melbourne.
With its innovative approach to the transnational circulation of culture, this book will appeal to art historians, as well as those in cultural anthropology, cultural studies, museum studies, and performance studies.
This facsimile reprint of Bernard Mason's Drums, Tomtoms and Rattles is the music-oriented companion piece to his Primitive and Pioneer Sports for Recreation Today. Mason shows how to create primitive percussion instruments, particularly those used by Native Americans, making this a good resource for teachers, scout leaders, and anyone else interested in creating their own fun . . .
The sun is a revered deity in Zuni Pueblo and many other Native American cultures. This book contains several sun face designs for you to color and design with your own ideas.
The Mimbres cultural florescence between about AD 1000 and AD 1140 remains one of the most visually astonishing and anthropologically intriguing questions in Southwest prehistory. In this revised edition, noted Mimbres scholar Dr. J. J. Brody incorporates the extensive fieldwork done since the original publication in 1977, updating his discussion of village life, the larger world in which the Mimbres people lived, and how the art that they practiced illuminates these wider issues. He addresses human and animal iconography, the importance of perspective and motion in perceivingMimbres artistry, and the technology used to produce the ceramics. This lively, engaging work will interest archaeologists, art historians, and all people who enjoy the beauty of Mimbres pottery. Featuring over one hundred new illustrations and insights drawn from a lifetime of study and contemplation, this book is much more than a revised edition; it establishes a new standard for the artistic interpretation of a classic Southwestern culture for the new century.
The success of today's American Indian silversmith follows a pathway blazed by the silver Indian jewelry makers that came beforeathose who brought the raw silver, channeled it, worked it, and made it profitable. In a large sense, the Fred Harvey name built the structure upon which many of today's Southwestern Indian silver and art traditions survive. This book's comprehensive study utilizes several private collections and hundreds of specimens, the best of which were painstakingly measured, weighed and photographed for the book. With nearly 100 images of SW Indian jewelry supplemented by early 1900s Harvey Company Photostint postcards, this book paints a vivid and colorful picture of life in America's southwestern frontier. Included is a significantly researched timeline and "tips & tricks" to clarify the historical subject. The many conjoined facts and historical research discoveries provide a fresh vantage from which to understand the complex world of early silver Indian jewelry and its champion, Fred Harvey Jewelry.
Exquisite blankets, sarapes and ponchos handwoven by southwestern peoples are admired throughout the world. Despite many popularized accounts, serious gaps have existed in our understanding of these textiles--gaps that one man devoted years of scholarly attention to address.
During much of his career, anthropologist Joe Ben Wheat (1916-1997) earned a reputation as a preeminent authority on southwestern and plains prehistory. Beginning in 1972, he turned his scientific methods and considerable talents to historical questions as well. He visited dozens of museums to study thousands of nineteenth-century textiles, oversaw chemical tests of dyes from hundreds of yarns, and sought out obscure archives to research the material and documentary basis for textile development. His goal was to establish a key for southwestern textile identification based on the traits that distinguish the Pueblo, Navajo, and Spanish American blanket weaving traditions--and thereby provide a better way of identifying and dating pieces of unknown origin.
Wheat's years of research resulted in a masterful classification scheme for southwestern textiles--and a book that establishes an essential baseline for understanding craft production. Nearly completed before Wheat's death, "Blanket Weaving in the Southwest" describes the evolution of southwestern textiles from the early historic period to the late nineteenth century, establishes a revised chronology for its development, and traces significant changes in materials, techniques, and designs.
Wheat first relates what Spanish observers learned about the state of native weaving in the region--a historical review that reveals the impact of new technologies andeconomies on a traditional craft. Subsequent chapters deal with fibers, yarns, dyes, and fabric structures--including an unprecedented examination of the nature, variety, and origins of bayeta yarns--and with tools, weaves, and finishing techniques.
A final chapter, constructed by editor Ann Hedlund from Wheat's notes, provides clues to his evolving ideas about the development of textile design. Hedlund--herself a respected textile scholar and a protA(c)gA(c)e of Wheat's--is uniquely qualified to interpret the many notes he left behind and brings her own understanding of weaving to every facet of the text. She has ensured that Wheat's research is applicable to the needs of scholars, collectors, and general readers alike. Throughout the text, Wheat discusses and evaluates the distinct traits of the three textile traditions. More than 200 photos demonstrate these features, including 191 color plates depicting a vast array of chief blankets, shoulder blankets, ponchos, sarapes, diyugi, mantas, and dresses from museum collections nationwide. In addition, dozens of line drawings demonstrate the fine points of technique concerning weaves, edge finishes, and corner tassels. Through his groundbreaking and painstaking research, Wheat created a new view of southwestern textile history that goes beyond any other book on the subject. "Blanket Weaving in the Southwest" addresses a host of unresolved issues in textile research and provides critical tools for resolving them. It is an essential resource for anyone who appreciates the intricacy of these outstanding creations.
Tribal Perspectives of Tubatulabal Tribal Baskets located at California State Parks Museum Resource Center. Includes Tribal Language, Basket designs and patterns, and Tribal History.
Zuni designs to color or use as an artist's reference.
How did ancient peoples--those living before written records--think? Were their thinking patterns fundamentally different from ours today? Researchers over the years have certainly believed so. Along with the Aborigines of Australia, the indigenous San people of southern Africa--among the last hunter-gatherer societies on Earth--became iconic representatives of all our distant ancestors and were viewed as either irrational fantasists or childlike, highly spiritual conservationists. Since the 1960s a new wave of research among the San and their world-famous rock art has overturned these misconceived ideas. Here, the great authority David Lewis-Williams and his colleague Sam Challis reveal how analysis of the rock paintings and engravings can be made to yield vital insights into San beliefs and ways of thought. This is possible because we possess comprehensive transcriptions, made in the nineteenth century, of interviews with San informants who were shown copies of the art and gave their interpretations of it. Using the analogy of the Rosetta Stone, the authors move back and forth between these San texts and the rock art, teasing out the subtle meanings behind both. The picture that emerges is very different from past analysis: this art is not a na ve narrative of daily life but rather is imbued with power and religious depth.
Painting the Cosmos presents current research on nearly two thousand years of ancestral Hopi painting and the values expressed in the imagery, settings, and performance contexts of paintings on kiva walls and pottery vessels. Nine essays show how continuity in Hopi values, such as reciprocity, humility, and hard work are expressed metaphorically in art, song, ritual activities, daily tasks, and visual arts. Many fundamentals of Hopi iconography (the study of images) are held in common with other Pueblos in New Mexico, with indigenous cultures of northwest Mexico, and with ancient Mesoamerican civilizations. In this region, histories, aesthetics, and values have common roots that are explored here through verbal and visual metaphors, past and present. This volume is richly illustrated in full color. Authors include Kelley Hays-Gilpin, Delbridge Honanie, Michael Kabotie, Lawrence Loendorf, Elizabeth Newsome, Polly Schaafsma, Emory Sekaquaptewa, Karl Taube, and Dorothy Washburn.
Unveiling for the first time an exceptional group of voodoo sculptures from the West African nations of Benin and Togo, this volume brings together nearly one hundred "bocio"--small fetishistic figurines--from the collection of the renowned African primitive art collectors Anne and Jacques Kerchache. Anthropomorphic sculptures made of wood, textile, bone, string, and shell, many of these bocio were used for protection, healing, and to inflict harm on enemies, imbuing them with a meaning that adds to their physical appeal. In addition to two hundred newly commissioned photographs by Yuji Ono showing the mystery and beauty of these works, a series of personal photographs and texts throughout illustrate the Kerchaches' passion for African statuary. Published in tandem with the first major exhibition devoted uniquely to the vodun arts, "Vodun "includes contributions by, among others, Suzanne Preston Blier, Gabin Djimasse, Marc Auge, and Patrick Vilaire.
Ancient rock art is better known in western North America, but it is also an important feature in the historical landscape of eastern North America. This booklet reprints a report first published in 1934 by the Pennsylvania Historical Commission. Donald A. Cadzow, an archaeologist, surveyed the petroglyphs discovered on certain rocks in the lower Susquehanna River, between York County and Lancaster County. In addition, petroglyphs from other parts of the state are noted.
In this personalized look at Native American spirituality, the author combines first-person experience with the words of tribal elders and a historical look at Native American practices. Hughes relates adventures with healing, sweat lodges, a vision quest, and finding his totem animal.
This is a fascinating introduction to the arts and crafts reflected in the material culture of North American Indians. Knowledge of the skills and techniques developed by the various tribes, and the fine materials produced, provides a key to understanding the rich diversity of native cultures. Replete with information and full-color illustrations, this handsome guide will be useful to students of American cultural history.
Fifty years ago, Canada celebrated its hundredth anniversary of Confederation. At Expo 67, in communities across the country, we celebrated our coming of age as a modern, bilingual, bicultural nation--a place where anyone from any culture could thrive. But beneath the applause and the cheerful music was a darker note. In his public address at the festivities, Chief Dan George lamented what Canada's centennial did not celebrate: the colonization and marginalization of Indigenous peoples who lived on these "good lands." Now in the year of Canada's 150th birthday, we honour a new understanding of our past. We have begun--at long last--to share in a process of national reconciliation and to come together to reimagine our contribution to a global future. Artists give form and meaning to both the land and the invisible landscape of the spirit, both the past and the future. The works of Canada's artists--both Indigenous and non-Indigenous, historical and contemporary--invite us to see our country and our place within it with new eyes. This book celebrates their visions, as well as the good lands we have shared and shaped for millennia that, in turn, have shaped us.
"This is a much needed, important collection-a goldmine of sources for scholars and students. The texts articulate the key Primitivist aesthetic discourses of the period, offering crucial insight into the complex and always changing nexus between culture, politics, and representation. Because of the breadth of the materials covered and the controversies they raise, this anthology is one of the all too rare volumes that not only will provide reference materials for years to come but also will feature centrally in classroom discussions."--Suzanne Preston Blier, author of "African Vodun: Art, Psychology, and Power
"For almost a century art historians have fretted about the notion of primitivism in the arts. This comprehensive-in both senses of the word-anthology is a peerless source of the history of responses to works categorized as 'primitive.' In its range, the book touches upon all the troubling questions-formal, anthropological, political, historical-that have bedeviled the study of the arts of Oceania, Africa, and North and South America, and provides the grounds, at last, for intelligent pursuit of keener distinctions. I regard this book as a superb contribution to the study of Modern art; in fact, indispensable."--Dore Ashton, author of "Noguchi East and West
"An extraordinarily useful and complete collection of primary documents, many translated for the first time into English, and almost all unlikely to be encountered elsewhere without serious effort. Its five sections, each with a lively and scholarly introduction, reveal the diverse views of artists and writers on primitive art from Matisse, Picasso, and Fry to many far less known and sometimes surprising figures. The bookalso uncovers the politics and aesthetics of the major museum exhibitions that gained acceptance for art that had been both reviled and mythologized. Recent texts included are all germane. This book will be invaluable for any college course on the topic."--Shelly Errington, author of "The Death of Authentic Primitive Art and Other Tales of Progress
"An exceptionally valuable anthology of seventy documents--most heretofore unavailable in English--on the ongoing controversies surrounding Primitivism and Modern art. Insightfully chosen and annotated, the collection is brilliantly introduced by Jack Flam's essay on the historical progression, contexts, and cultural complexities of more than one hundred years' ideas about Primitivism. Rich, timely, illuminating."--Herbert M. Cole, author of "Icons: Ideals and Power in the Art of Africa
Masks are an ancient tradition of the Alutiiq people on the southern coast of Alaska. Alutiiq artists carved the masks from wood or bark into images of ancestors, animal spirits, and other mythological forces; these extraordinary creations have been an essential tool for communicating with the spirit world and have played an important role in dances and hunting festivities for centuries. "Giinaquq--Like a Face" presents thirty-three full-color images of these fantastic and eye-catching masks, which have been preserved for more than a century as part of the Pinart Collection in a small French museum. These masks, collected in 1871 by a young French scholar of indigenous cultures, are presented for the first time in their complete cultural context, celebrating the rich history of the Alutiiq people and their artistic traditions. In addition to the stunning photographs, "Giinaquq--Like a Face" includes an informative text in three languages--English, Alutiiq, and French--in order to provide a cross-cultural understanding of the masks' traditional meaning and use. This captivating and revealing book will be an essential resource for anyone interested in indigenous art and culture.
In late prehistory, the ancestors of the present-day Hopi in Arizona created a unique and spectacular painted pottery tradition referred to as Hopi Yellow Ware. This ceramic tradition, which includes Sikyatki Polychrome pottery, inspired Hopi potter Nampeyo s revival pottery at the turn of the twentieth century.
How did such a unique and unprecedented painting style develop? The authors compiled a corpus of almost 2,000 images of Hopi Yellow Ware bowls from the Peabody Museum s collection and other museums. Focusing their work on the exterior, glyphlike painted designs of these bowls, they found that the glyphs could be placed into sets and apparently acted as a kind of signature.
The authors argue that part-time specialists were engaged in making this pottery and that relatively few households manufactured Hopi Yellow Ware during the more than 300 years of its production. Extending the Peabody s influential Awatovi project of the 1930s, "Symbols in Clay" calls into question deep-seated assumptions about pottery production and specialization in the precontact American Southwest. "
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