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Books > Arts & Architecture > History of art / art & design styles > Art styles not limited by date > Art of indigenous peoples
In investigating both customary and modern Pacific art, these
collected essays present a wide-ranging view across time and space,
taking the reader from antiquities to contemporary art and
travelling across the region from Australia, Papua New Guinea,
Solomon Islands, New Zealand to Samoa. Studies of artefacts and
traditions, such as self-portraiture, wood carvings, shields, tapa,
dance and masks, use a variety of approaches, some deriving from
museum studies while others are based on field investigation.
Together they reveal the oppositional tensions between tradition
and innovation, and the inspiration this provides for contemporary
artistic practice, either through conscious implementation or
through rejection of past definitions. Engagement with these
cultural performances and objects provide new possibilities for the
creation of current identities. The drafting of antiquities
legislation, the tortuous journeys objects have taken to find a
place in galleries, the use of exhibitions in cultural exchange,
framed by the architecture of museums, as well as the role of film
and photography in appropriating Pacific art culture for emerging
nationalisms, all of these are considered here to enhance our
understanding of indigenous art's place in the world today. These
historical perspectives provide the framework in which to explore
contemporary acquisition and outreach work with Pacific communities
that seeks to reconnect people with objects taken away from the
places and intentions of their makers. Questions of how identity is
maintained and expressed through art are considered for both
individuals and groups. What role does the transformations of
objects play in this process? What impacts have been made by
colonialism, modernism and the great migrations of people between
Pacific countries, and from rural to urban environments?
Ultimately, how is 'Pacific Islander' defined and by whom? In
Repositioning Pacific Art, artists, curators and academics,
including Maori and other Islanders, bring fresh approaches to
Oceanic Art History and raise questions of relevance not only to
scholars of indigenous art in the region but also in other parts of
world.
Let Marcine take you on a journey into the distant past through her
paintings. An accomplished artist, she brings to life the ancient
tales of the peoples who call themselves the Haudenosaunee, People
of the Longhouse. We know them better as the Iroquois League of
Nations. "Thank you for your efforts to honor and uplift the work
of the Peacemaker to establish a Peace that will prevail on earth.
It is time to raise that legacy to a higher standard of global
public visibility. Your art is a majestic vehicle to bring this
about." -David Yarrow, Dancing Turtle, Defender of Mother Earth,
Healer, Author, Dowser "Marcine Quenzer is one of the best
storytellers I have ever heard. Her knowledge of the Iroquoian
people inspires, educates and entertains. She is a Master of her
Art." -Curtis Harwell, CEO of Heaven on Earth Foundation "Marcine
Quenzer has the gift of the true Sachem for tuning into ancient
cultures and bringing forward the wisdom and lessons of their
natural spirituality so needed in these days." -Frank Jordan, Past
President of National Dowsers Association, Healer, Author Marcine
Quenzer has brought to her book, Spirit Winds of Peace: The Epoch
of the Peacemakers, the same beauty, eloquence and truth that she
brought to the Peacemakers' journey through her inspirational
artwork. Her book does much to reveal this journey - a revelation
that is so needed at this time to remind us that love is indeed the
answer. Thank you, Marcine, for this gift to all humanity. -Robert
Roskind, author of "The Beauty Path: A Native American Journey into
One Love" The Wyandotte Nation of Oklahoma, through resolution of
the Board of Directors, has named Marcine Quenzer as "Wyandotte
Nation Associate Artist" of the Nation, for the longstanding work
she has done in artistic portrayals of Wendot history, and stories,
cultural presentations, and teaching of the youth of many First
Nations. -Leaford Bearskin, Chief, and James Bland, second Chief...
2003
Art is integral to the life ways of the Tlingit, Haida, and
Tsimshian. It surrounds us and it holds us up. Our Northwest Coast
art is ingrained in the social fabric and oral histories of our
clans. It is characterized by formline-a term used to describe the
unique artistic style of the indigenous people of the Northwest
Coast. Formline is a composition of lines whose widths vary to
create form. The overall collection of these compose an image or
design. The formline designs may represent stories of Raven (the
Trickster), historic events, clan crests, or other concepts.
Formline is an art that dates back more than two thousand years
(Brown 1998). Two-dimensional formline is depicted on objects such
as bentwood boxes, clan hats, and house screens. Though formline is
drawn in two dimensions, it transforms to be adapted to
three-dimensional pieces, such as masks and totem poles. In this
booklet we hope to provide a concise and easy-to-understand guide
for interpreting Northwest Coast formline art.
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.
Tribal Perspectives of Tubatulabal Tribal Baskets located at
California State Parks Museum Resource Center. Includes Tribal
Language, Basket designs and patterns, and Tribal History.
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."
There was a time when I was privileged to build a small sacred fire
on a mound in the sacred circle for new moon ceremonies. The fire
was an embodiment of the spirit made manifest for the group who
came together to replenish their collective and individual spirits.
It was my privilege to make pretty fires which danced as they
burned. This task of mine was a sacred task and I took it
seriously, but what I enjoyed most about the festivities was the
joy and humor which infested all who participated. One of the many
things I have experienced in my long life is the joy and laughter I
have always associated with Native American activities. When
Indians are together they laugh together, much more than I have
noticed in gatherings of non-Indians, who have other cultural
indicators of spirituality. Many Native traditions hold clowns and
tricksters as essential to contact with the sacred. People prayed
after they had laughed, because laughter tended to open one's mind
and free up rigid preconceptions. So human animals had tricksters
within the most sacred ceremonies lest they forget how the sacred
comes through upset, reversal, surprise. The trickster in most
Native traditions is essential to creation, to birth. And the
heyokah, the booger, the clown, the neweekwe, the koshari, the
contrary, was the sacred bringer of this laughter. The bringing of
laughter to the group was often accomplished with a zany dance of
pratfalls or patently absurd physical activities. There is a shared
understanding of the need for this aspect of sacred dancing being
necessary to open the spirits of the people, to prepare them to
participate in the spiritual togetherness of the sacred circle. The
sacred clowns of the Native Americans were very often overtly
sexual in their "clowning"; so much so that in modern American
society they would all be pilloried for sexual aggression. One must
remember that these clowns were male, female, and bisexual. Their
sexually explicit stance was their way of forcing their audience,
the other members of their group, into a place of embarrassment
which could be relieved only by laughter. Laughter was the weapon
of change in an individual's anti-social behavior. Poking fun was
the ultimate weapon of shaming. And because it produced laughter
all could share in a release of tension caused by the wrongness
involved. So when i finally found a thick, stiff nylon string to
make string figures with I began to make dancing figures which
became for me a series of "sacred clowns" personifying this crucial
part of my cultural upbringing. This book is a partial record of my
ongoing passion of creating touchstones of laughter, for reaching
the spirituality within us all. inoli
Over six decades of brilliant prints and paintings from the most
prominent Northwest Coast artist of his generation. Since leaving
Haida Gwaii to study art in Vancouver-where he carved argillite
with Bill Reid in a department store and hand-sold prints on the
UBC campus-Guud sans glans, Robert Davidson has moved between two
worlds. As a host of Potlatches, carver of masks and totem poles,
and performer and teacher of traditional Haida songs and dances, he
has been one of the driving forces in the resurgence of Haida
culture in the aftermath of colonization. As an artist working in
serigraphs, acrylic, wood, silver, and aluminum to preserve and
breathe new life into Haida formline, he has become among the most
respected, celebrated, and thrilling artists in the country, if not
the world. Echoes of the Supernatural is the first publication in
over forty years to offer a comprehensive visual retrospective of
his astonishing career. It includes new photography of over 150
prints, as well as images of over fifty paintings; numerous painted
woven hats, painted and carved sculptures, jewellery, aluminum
sculpture; and dozens of archival photos. His long-time gallerist
Gary Wyatt, who worked closely with Davidson in shaping the book
and received full access to his archives, details the artist's life
and career, and offers insights on the work based on extensive new
interviews. A foreword by Karen Duffek situates the contours of
Davidson's practice within the broader Northwest Coast art world.
This catalogue presents around 200 artifacts from Irene and Peter
Ludwig's collection of pre-Columbian art from the Americas. The
works are organized thematically and ethnically, looking at pottery
of the Mimbres culture; Mayan works in jade and the diversity of
cultures in postclassic Western Mesoamerica (Toltecs, Aztecs,
Mixtecs, Zapotecs and Tarascans); the development of early cultures
in the Central Andes; ancient Peruvian erotic sculpture; metallurgy
in the pre-Hispanic Andes; ritual drinking and libation; and many
other topics and genres. A final section considers the
appropriation of the pre-Columbian past throughout history and in
the present. Also included are timelines of ancient American
cultures. The Ludwig Collection today is part of the
Rautenstrauch-Joest Museum in Cologne.
Why has Asmat art, from a remote and small south-coast West Papuan
society, had such a significant and prolonged impact on the world
stage? This book explores the way major collections were made and
examines the motivations of the collectors, their relationships
with those from whom they purchased and the circumstances of the
exchange. It also considers the involvement of artists and
film-makers, anthropologists, representatives of the civil
authorities and missionaries. Asmat artists have maintained their
unique appeal through constant stylistic innovation and by
engagement with new publics, both locally and internationally, as
exemplified by the recent displays of women's weaving alongside the
men's carved wooden shields, drums and figures. Despite
accelerating social changes, Asmat art continues to thrive as a
compelling and transformative Melanesian presence in the global art
world. 'Awe-inspiring works of Asmat art loom large in the
Metropolitan Museum of Art in New York and in dozens of other great
museums around the world. Nick Stanley's engagingly written study
provides the best history to date of the making of Asmat art
traditions and of their avid acquisition by successive European and
north American collectors. Most importantly, the book foregrounds
the creativity and imagination of Asmat artists themselves. This is
a book that will be welcomed by everyone interested in the arts of
the Pacific.' Nicholas Thomas, University of Cambridge
Contents: Introduction (Francoise Fauconnier and Serge Lemaitre);
1) Rock art sites as spiritual places ? Canadian Shield rock art as
part of the Algonquian sacred landscape (Daniel Arsenault); 2)
Thunderbirds and Horned Snakes: Cosmogony at Canadian Rock Art
Sites (Serge Lemaitre); 3) Cueva de la Serpiente: Interpretive
Analysis of an Archaic Great Mural Rock Art Panel, Mulege, Baja
California Sur, Mexico (Roberto Martinez, Larissa Mendoza and Ramon
Vinas); 4) El Salto del Perro, Durango, Mexico: La construccion de
un paisaje sagrado en los confines de Mesoamerica (Fernando
Berrojalbiz y Marie-Areti Hers); 5) Paisaje y petrograbados del
sitio de la Ferreria, Durango, Mexico (Jose Luis Punzo Diaz); 6)
Imagenes de guerreros en el arte rupestre del norte de Michoacan.
Una aproximacion a los ritos de los cazadores recolectores del
Posclasico (Brigitte Faugere); 7) The Cave of the Bat, a Primordial
Cave of the Sun, Acapulco, Mexico (Martha Cabrera Guerrero); 8)
Myths and Oral Tradition in the Study of Rock Art: High Plains of
Cundinamarca-Boyaca, Past Ethnohistory and Country Folk Tradition
(Guillermo Munoz C.); 9) The Rock Art of the Bochica Route.
Possible Connections between Oral Tradition and Sense and Function
of Rock Art (Judith Trujillo Tellez); 10) El arte rupestre del rio
San Juan del Oro (Bolivia): Reflexiones sobre el simbolismo y la
funcion de las imagenes (Francoise Fauconnier).
Ethics and Rock Art: Images and Power addresses the distinctive
ways in which ethical considerations pertain to rock art research
within the larger context of the archaeological ethical debate.
Marks on stone, with their social and religious implications, give
rise to distinctive ethical concerns within the scholarly
enterprise as different perceptions between scholars and Native
Americans are encountered in regard to worldviews, concepts of
space, time, and in the interpretation of the imagery itself. This
discourse addresses issues such as the conflicting paradigms of
oral traditions and archaeological veracity, differing ideas about
landscapes in which rock art occurs, the intrusion of "desired
knowledge", and how the past may be robbed by changing
interpretations and values on both sides. Case studies are
presented in regard to shamanism and war-related imagery. Also
addressed are issues surrounding questions of art, aesthetics, and
appropriation of imagery by outsiders. Overall, this discourse
attempts to clarify points of contention between Euro-American
scholars and Native Americans so that we can better recognize the
origins of differences and thus promote better mutual understanding
in these endeavors.
Warriors of the Plains explores the art of North American Plains
Indian warriors - weapons, amulets, clothing and ceremonial objects
- with particular emphasis on their ritual use and symbolic
meanings. Unlike most books on Plains Indians, which have a purely
historical focus, this title examines continuity and change between
historic warrior societies and contemporary Native American
military associations. Originally set up as clubs to organise war
raids and to police seasonal cycles of nomadic hunting, warrior
societies today maintain much of the Plains Indians' ethos,
vigorously reinforcing their cultural, national and ethnic
identity. With a new approach to the subject the author reveals how
specific items and symbols - objects of "ritual and honour" - such
as the American flag, eagle feathers and medicine bundles have been
used over the last 200 years, as well as exploring the introduction
of new elements in modern ceremonial practices such as powwow dance
competitions and war veterans' celebrations. Lavishly illustrated
with objects from the British Museum's important collections, as
well as archival material, this book features previously
unpublished material. Max Carocci has been conducting research on
Plains Indians since 1989. Since 2006 he has been researching and
collecting in this area for the British Museum and is the curator
of the touring exhibition "Warriors of the Plains: 200 years of
Native North American honour and ritual". He lectures on Indigenous
American Arts at Birkbeck College, University of London and is
editor of the Anthropological Index Online run by the Royal
Anthropological Institute.
Pacific Island Artists Navigating the Global Art World brings
together artists, academics, museum curators and gallery owners to
discuss the creation and promotion of contemporary Pacific arts in
the global art world.Addressing art production from across the
Pacific region (Australia, Papua, Papua New Guinea, the Solomon
Islands, Vanuatu, Fiji, Rotuma, Samoa, Tonga, New Zealand, Guam,
Hawaii, and the Northwest Coast of Canada) this volume examines how
these arts are exhibited and marketed on a world stage. It provides
the opportunity for a global dialogue concerning contemporary
indigenous arts while it explores the diversity and complexities of
contemporary Pacific art. In so doing, these contributors confront
a variety of issues associated with the production, marketing and
acceptance of indigenous arts in a global art world.
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'.
"Remembering Forward" presents works by nine of the most prominent
Australian Aboriginal artists: Paddy Bedford, Emily Kame
Kngwarreye, Queenie McKenzie, Dorothy Napangardi, Rover Thomas,
Ronnie Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Leura
Tjapaltjarri and Turkey Tolson Tjupurrula. Their works are situated
in, and generate, a peculiar tension between traditional and modern
and past and present. On the one hand, they usually take as their
subject the so called 'Dreamtime' of prehistory from which myths of
the earth's and humankind's creation have been handed down. In that
regard they are deeply traditional. On the other, these artists
have radically changed their medium and method of art-making over
the last forty years. Inherited practices of sand- and
body-painting have been transformed such that the paintings are
executed in acrylic on canvas or other portable media. These
changes afforded the artists entry to the global art market. Thus
they have adjusted to address an outside public and keep the images
free of those parts of the Dreamings that, in their own culture,
are reserved for the initiated.
Zuni designs to color or use as an artist's reference.
In this newly revised edition of ALASKA'S TOTEM POLES, readers
learn about the history and use of totems, clan crests, symbolism,
and much more. A special section describes where to go to view
totems. Foreword writer David A. Boxley offers the unique
perspective of a Native Alaskan carver who has been a leader in the
renaissance of totem carving.
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