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.

Africa, telling A World proposes the works of 33 artists from the principal cultural areas of Sub-Saharan Africa. Contemporary African art - fuelled by the relations between pre-existing populations and immigrants of various origins, by the blend of religions, cultures, urban tribes, genres, ethnic groups and by the close relationship between nature, traditions and rituals - mirrors the depth of its own roots. Today it exhibits a strong impetus for research, knowledge and the phenomenological understanding of the core historical-religious and ethnical-anthropological problems that the continent faces. Text in English and Italian.

Understanding Northwest Coast Art is a handy, dictionary-style reference guide to identifying and understanding the symbols, crests, and beings depicted in Northwest Coast Native American works of art such as totem poles, masks, and prints.

The first section of the book features an alphabetical list of words relating to Northwest Coast art, with definitions, descriptions, and explanations and synopses of the major myths associated with them. As an aid to identification and understanding, many of the crests, beings, and symbols are illustrated in 70 reproductions of contemporary artworks and archival photos. The entries cover a wide range: crests such as Eagle, Dogfish, or Dragonfly; ancestral beings such as Creek Woman or Thunderbird; mythic beings such as Raven, the Chief of the Undersea, or Cedar Man; and supernatural beings such as Death-Bringer.

Understanding Northwest Coast Art also includes brief descriptions of the design conventions, design elements, and different art styles of Northwest Coast cultural groups, along with an overview of the interconnections between art, myth, and ceremony.

Easy to use and easy to read, this volume is an essential source for understanding and visually identifying the underlying themes and subjects of Northwest Coast Native American art.

After Dutch expeditions reached New Guinea's Lake Sentani island and Humboldt Bay in the mid-1800s, Western visitors began collecting works by local artists. "Ancestors of the Lake" is a stunning look at the region's distinctive art, such as its highly stylized wooden sculptures and decoratively and abstractly designed barkcloths. This beautifully illustrated volume brings together many of these important historic pieces for the first time, including the landmark collection of French writer and art dealer Jacques Viot, along with photographs by Paul Wirz. The book also explores how European Surrealist artists found inspiration in the art of New Guinea, highlighted by rarely seen photographs by Man Ray of Sentani sculpture.

Recent decades have seen an upsurge in visitation to rock art sites as well as an increase in commercial reproduction of rock art and attempts to understand the meaning and function of that art within the indigenous cultures that produced it. What motivates this growing interest and what do these interpretations and appropriations of Native American petroglyphs and pictographs reveal about contemporary cultural dynamics? Focusing on the southwestern U.S., this book critically examines the contemporary implications of the interpretation, appropriation, commodification, and management of indigenous rock art. Neither archaeological interpretations nor commercial reproductions of rock art operate in a cultural vacuum. Both the motivation to seek out rock art and the specific meanings attached to it are deeply embedded in narratives about Native Americans already created by anthropologists, archaeologists, photographers, novelists, film and television producers, the tourism industry, and New Age discourse. For those interested in rock art as a window into indigenous cultures of the past, our contemporary projections of meanings are of great concern. Applying the tools of critical/cultural studies to both academic and popular discourse, Rogers explores the implications of such projections for rock art studies, contemporary gender dynamics, and the neocolonial relationship between Euro-Americans and Native Americans.

& Western approaches to Africa's visual culture have until recently separated 'traditional' from 'modern' as if the two categories had no common ground, and as if only the former was authentically African. Yet 'tradition' is also an active process of handing on, one subject to evolution, development and history. This book explores a burgeoning body of West African artistic production that draws upon photography, advertising, graphic design, European art history and Ghanaian history and culture. As such it constitutes an envisioning of a local modernity centred upon Kumasi, a vibrant trading city at the centre of local, national and international networks, whether historical, economic, political, educational, religious or aesthetic. The art described here, whatever its immediate purpose, reflects and interprets this intense and unique local context. Among the Ghanaian painters discussed are E.V. Asihene, Grace Kwami, E.K.J. Tetteh, Ablade Glover, Ato Delaquis, B. Offei Nyako, Atta Kwami, kari'kacha seid'ou, Bob Acheampong and many others whose practice was college based. Kwami also discusses the art and lives of Kumasi's leading sign painters - King Samino (King Samino Sign Art Services), Alex Amofa (Supreme Art Works), Kwame Akoto (Almighty God Art Works), Isaac Azey Otchere (Azey Alberto Art Sign Service), and Isumaila Moro (Iss Hi-Tech Prints) - thereby exploring the interrelationship of two entwined traditions, two art worlds of modern painting centred at either the university and/or the signpainter's workshop.

A River Apart presents multi-vocal perspectives on the pottery of Cochiti and Santo Domingo Pueblos, located along the central Rio Grande Valley in New Mexico. Separated by a great river, Cochiti and Santo Domingo Pueblos shared a ceramic tradition for centuries until increasing contact with outsiders ushered in tumultuous changes that set the pueblos on divergent paths. Cochiti Pueblo more freely modified its traditional forms of painted pottery to appeal to new markets while the Santo Domingo Pueblo shunned the influences of the tourist trade and art market, continuing an artistic trajectory that was conservative and insular. A River Apart brings together a distinguished a team of anthropologists, artists, and art historians from Native and non-Native perspectives to examine the pottery traditions of the two Pueblos and decipher what discoveries can be made and identities established through these representations of material culture. As the essays reveal, the pottery represents more than anthropology's artifacts and art for the marketplace. From the pottery we learn much about the pueblos' history, myths and legends, communities, and the artist's responses to influences from the outside world. This volume is a fascinating case study in how cultures develop; how art, culture and community are interwoven; and how art is created, interpreted, valued, bought and sold. This publication is companion to an exhibition to open at the Museum of Indian Arts and Culture (Museum of New Mexico) in Santa Fe in Fall 2008 and featuring over 200 Santo Domingo and Cochiti pots. A River Apart is a valuable addition to the libraries of those interested in Pueblo Indian pottery, Native American arts andculture, and southwestern history and anthropology.

This book takes a generational look at the fast-changing world of the woodcarvers of Oaxaca, Mexico. These artisans became famous in the 1980s for their colourful novelty figures, a contemporary folk art that Shephard Barbash and Vicki Ragan documented in the book Oaxacan Woodcarvers. Fourteen years later, beginning in 2004, Barbash and Ragan returned to Oaxaca and discovered many changes in the lives of the woodcarvers they had known. Barbash effectively presents their personal stories in narratives drawn from interviews accompanied by Ragan's arresting black-and-white photographs of the carvers and their lives today. A series of diptychs of the same people taken in 1989-90 and again fifteen years later are accompanied by extended essay-captions on the changing circumstances shaping their lives.Faced with a glut of carvings on the market, declining sales abroad, and an unsteady supply of tourists at home, a number of Oaxacan artisans put aside their craft to become mojados, or foreign workers, drawn by the economic opportunities north of the border. With eloquence and insight, the book puts a human face on bilateralism, a fancy term to denote divided souls. From the dusty villages of Oaxaca to the orchards of Oregon and the kitchens of Chicago, the carvers have joined millions of Mexicans who, unable to find good work or sustain their recent prosperity in their own country, have fled across the border: artisans and aliens. Changing Dreams is a moving story of change and survival, conveying the growing aspirations and changing dreams of a people struggling to catch up without leaving too much behind, whose creations we enjoy but whose lives we barely understand.

Large, bold and colourful, Indigenous Australian art has made an indelible impression on the contemporary imagination. But it is controversial, dividing the stakeholders from those who smell a scam. Whether the artists are victims or victors, there is no denying their impact in the media and on the art world and collectors worldwide. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art world to which they had previously been denied access? Finely illustrated, and now available in paperback, this full historical account makes you question everything you were taught about contemporary art.

Moon Hunter is an injured wolf and outcast in his pack like his friends. Lost in the Valley of Drury, Moon Hunter cannot find food or his friends and the dark mist of Drury is caving in on him until a guiding light appears out of the woods around him. Here he meets a friend named Grasshopper and from there Moon Hunter learns of his purpose in life and finds all the food from earth, water, air, and sun he needs to start a new life with a family of friends like him. With imagination, absolution is not unknown anymore to Moon Hunter and the pack of wolves in this colorful tale of serendipity proportions.

The massive wood carvings unique to the Indian peoples of the Northwest Coast arouse a sense of wonder in all who see them. This guide helps the reader to understand and enjoy the form and meaning of totem poles and other sculptures. The author describes the origin and place of totem poles in Indian culture - as ancestral emblems, as expressions of wealth and power, as ceremonial objects, as mythological symbols, and as magnificent artistic works of the people of the Pacific Northwest. Halpin also suggests ways to interpret the motifs and symbols carved on the poles and shows how to recognize the special features which reveal not only the skill of the carver but also his tribal origin.

This book aims to redefine Australia's earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term's use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.

Social and behavioral scientists study religion or spirituality in various ways and have defined and approached the subject from different perspectives. In cultural anthropology, and archaeology the understanding of what constitutes religion involves beliefs, oral traditions, practices and rituals, as well as the related material culture including artifacts, landscapes, structural features and visual representations like rock art. Researchers work to understand religious thoughts and actions that prompted their creation distinct from those created for economic, political, or social purposes. Rock art landscapes convey knowledge about sacred and spiritual ecology from generation to generation.

Contributors to this global viewdetail how rock art can be employed to address issues regarding past dynamic interplaysof religions and spiritual elements. Studies from a number of different cultural areas and time periods explore how rock artengages the emotions, materializes thoughts and actions, and reflects religiousorganization as it intersects with sociopolitical cultural systems."

The Northwest Coast totem pole captivates the imagination. From the first descriptions of these tall carved monuments, totem poles have become central icons of the Northwest Coast region and symbols of its Native inhabitants. Although many of those who gaze at these carvings assume that they are ancient artifacts, the so-called totem pole is a relatively recent artistic development, one that has become immensely important to Northwest Coast people and has simultaneously gained a common place in popular culture from fashion to the funny pages. The Totem Pole reconstructs the intercultural history of the art form in its myriad manifestations from the eighteenth century to the present. Aldona Jonaitis and Aaron Glass analyze the totem pole's continual transformation since Europeans first arrived on the scene, investigate its various functions in different contexts, and address the significant influence of colonialism on the proliferation and distribution of carved poles. The authors also describe their theories on the development of the art form: its spread from the Northwest Coast to world's fairs and global theme parks; its integration with the history of tourism and its transformation into a signifier of place; the role of governments, museums, and anthropologists in collecting and restoring poles; and the part that these carvings have continuously played in Native struggles for control of their cultures and their lands. Short essays by scholars and artists, including Robert Davidson, Bill Holm, Richard Hunt, Nathan Jackson, Vickie Jensen, Andrea Laforet, Susan Point, Charlotte Townsend-Gault, Lyle Wilson, and Robin Wright, provide specific case studies of many of the topics discussed, directly illustrating the various relationships that people have with the totem pole. Errata: http://www.washington.edu/uwpress/books/Jonaitis_errata_24.pdf

This volume is a basic introduction to rock art studies. It marks the starting point of the new methodology for rock art analysis, based on typology and style, first developed by the author at the Centro Camuno di Studi Preistorici. This book demonstrates the beginnings of a new discipline, the systematic study of world rock art. This edition is a revised and updated version of Anarti's classic text, first published in English in 1993. Additions have been made and a major new category of rock art has been included.

This beautifully illustrated book showcases 110 objects from the Dallas Museum of Art's world-renowned African collection. In contrast to Western "art for art's sake," tradition-based African art served as an agent of religion, social stability, or social control. Chosen both for their visual appeal and their compelling histories and cultural significance, the works of art are presented under the themes of leadership and status; the cycle of life; decorative arts; and influences (imported and exported). Also included are many fascinating photographs that show the context in which these objects were originally used.

Roads, Mobility, and Violence in Indigenous Literature and Art from North America explores mobility, spatialized violence, and geographies of activism in a diverse archive of literary and visual art by Indigenous authors and artists. Building on Raymond Williams's observation that "traffic is not only a technique; it is a form of consciousness and a form of social relations," this book pulls into focus racial, sexual, and environmental violence localized around roads. Reading this archive of texts next to lived struggles over spatial justice, Rymhs argues that roads are spaces of complex signification. For many Indigenous communities, the road has not often been so open. Recent Indigenous writing and visual art explores this tension between mobility and confinement. Drawing primarily on the work of Marie Clements, Tomson Highway, Marilyn Dumont, Leanne Simpson, Richard Van Camp, Kent Monkman, and Louise Erdrich, this volume examines histories of uprooting and violence associated with roads. Along with exploring these fraught histories of mobility, this book emphasizes various ways in which Indigenous communities have transformed roads into sites of political resistance and social memory.

This title is one of the most important private collections dedicated to the art from the Solomon Islands. The sea is the single greatest source of inspiration for the art from the Solomon Islands, which are located northeast of New Guinea. Artistic forms, embellishments, designs, functions, and materials are drawn from a watery canvas that are subtly nuanced, yet richly homogenous. In the art of the Solomons, there is a link between the visual and the practical. Objects are created with an understanding of pure, aquiline forms, and are shaped to give the most graceful outline and poised balance.This book presents the Conru collection of art from the Solomon Islands, which encompasses a broad assortment of images, weapons, body ornaments and other artifacts. So numerous and diverse are the objects from this island group that it is difficult for a single collection to be totally representative. However, the collection approximates a representative status, comprising masks from Nissan and Buka, a large figure from Bougainville, as well as imagery and other artifacts from the western down through the southeastern islands. The artworks range from the 18th to the early 20th centuries.

When this book first appeared in 1996, it was "Pottery 101," a basic introduction to the subject. It served as an art book, a history book, and a reference book, but also fun to read, beautiful to look at, and filled with good humor and good sense. After twenty years of faithful service, it's been expanded and brought up-to-date with photographs of more than 1,600 pots from more than 1,600 years. It shows every pottery-producing group in the Southwest, complete with maps that show where each group lives. Now updated, rewritten, and re-photographed, it's a comprehensive study as well as a basic introduction to the art.

Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art opening this October, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts.This accompanying book documents and expands on the histories and themes of this exciting exhibition. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings-from the 1950s onward-by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.

This richly illustrated book explores the contested history of art and nationalism in the tumultuous last decades of British rule in India. Western avant-garde art inspired a powerful weapon of resistance among India's artists in their struggle against colonial repression, and it is this complex interplay of Western modernism and Indian nationalism that is the core of this book. "The Triumph of Modernism" takes the surprisingly unremarked Bauhaus exhibition in Calcutta in 1922 as marking the arrival of European modernism in India. In four broad sections Partha Mitter examines the decline of oriental art and the rise of naturalism as well as that of modernism in the 1920s, and the relationship between primitivism and modernism in Indian art: with Mahatma Gandhi inspiring the Indian elite to discover the peasant, the people of the soil became portrayed by artists as noble savages. A distinct feminine voice also evolved through the rise of female artists. Finally, the author probes the ambivalent relationship between Indian nationalism and imperial patronage of the arts. With a fascinating array of art works, few of which have either been seen or published in the West, "The Triumph of Modernism" throws much light on a previously neglected strand of modern art and introduces the work of artists who are little known in Europe or America. A book that challenges the dominance of Western modernism, it will be illuminating not just to students and scholars of modernism and Indian art, but to a wide international audience that admires India's culture and history.

For the past three decades, artist David Bradley (Minnesota Chippewa) has been a recognized voice from Indian Country, exploring and confronting through his art questions of identity, self-determination, and self-portrait, and bringing to the surface issues about which he is passionate. His ironic, vivid, vibrant paintings are saturated with the artist's powerful and evocative depictions of the Indian experience and perspective. Bradley's paintings interweave historical and political truths, social and personal narrative, and cultural critique. Native people take center stage in world art, challenging imbedded assumptions, reconsidering history and deconstructing its icons. A post-modern trickster, Bradley redirects the gaze of American life from an Indian point of view--an outsider observing the world with paradox, incongruity, fantasy, and humor.

"Art of the Arctic: Reflections of the Unseen" examines the history and artistic influence of Inuit masks and ivories. The first half of the book illustrates and discusses 49 important and rare Inuit masks, collected over the last 40 years, and the relationship between these masks and their profound, but often understated influence on the surrealist discussed in three in-depth essays. The second half of the book, in a tumble format, illustrates the Wolf Collection of ancient Inuit art from 200 BC to the eighteenth century. Beautifully finished with silver cloth and a printed translucent dust jacket, the book is a physically impressive body of work, with highly detailed illustrations of these historically significant artworks. Complemented by texts from Donald Ellis, president and founder of Donald Ellis Gallery Ltd. and expert in the field of antique North American Indian art, and by Dawn Ades, Colin Browne and Marie Mauze, world leaders in research on Surrealism."

Navajo weavings, long regarded for their remarkable aesthetics, have never before been investigated from the standpoint of the weaver's process and intent. WEAVING A WORLD explores the patterns and irregularities often overlooked or considered 'flaws' in these beautiful textiles, and it seeks to identify the mythic symbols and historic and personal stories they contain. The inclusion of objects and the use of colour, pattern, and weave variations are found to be significant symbols of the way a weaver thinks about the world. A weaver may pray her way into the centre of the rug, where the most intricate work and colour will appear. Patterns may portray a vision of the world animated by spirits and holy people, recounting the creation of the heavens, the earth, and the loom itself. WEAVING A WORLD includes seventy rugs from the celebrated collection of the Laboratory of Anthropology in Santa Fe, New Mexico, and documentary photographs of today's weaving culture on the reservation. Winner, RMBPA, Trade Book Illustrated, 1997.