A broad-ranging retrospective on the transformation of Inuit art in the twentieth century, Inuit Modern features more than 175 works by seventy-five Inuit artists from one of the world's most comprehensive privately held collections of Inuit art: the Samuel and Esther Sarick Collection.
In response to new thinking about the North, Inuit Modern
Five leading experts on Inuit art have contributed essays and Ingo Hessel, the co-curator, introduces each full-colour plate section, providing a lively and insightful context for the artwork.
The Inuit voice is a critical component of Inuit Modern, complementing the scholarly essays. In their interviews, artists Zacharias Kunuk and David Ruben Piqtoukun offer the perspective of Inuit in the twenty-first century. Poems by the beloved writer Alootook Ipellie and quotes from Inuit artists appear throughout the book.

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.

In western culture, rock art has traditionally been viewed as ""primitive"" and properly belonging in the purview of anthropologists rather than art scholars and critics. This volume, featuring previously unpublished photographs of Utah's magnificent rock art by long-time rock art researcher Layne Miller and essays by former Utah state archaeologist Kevin Jones, views rock art through a different lens. Miller's photographs include many rare and relatively unknown panels and represent a lifetime of work by someone intimately familiar with the Colorado Plateau. The photos highlight the astonishing variety of rock art as well as the variability within traditions and time periods. Jones's essays furnish general information about previous Colorado Plateau cultures and shine a light on rock art as art. The book emphasizes the exqui site artistry of these ancient works and their capacity to reach through the ages to envelop and inspire viewers.

The Navajo rugs and textiles that people admire and buy today are the result of many historical influences, particularly the interaction between Navajo weavers and the traders who guided their production and controlled their sale. John Lorenzo Hubbell and other late-nineteenth-century traders were convinced they knew which patterns and colors would appeal to Anglo-American buyers, and so they heavily encouraged those designs. In "Patterns of Exchange, " Teresa J. Wilkins traces how the relationships between generations of Navajo weavers and traders affected Navajo weaving.

The Navajos valued their relationships with Hubbell and others who operated trading posts on their reservation. As a result, they did not always see themselves as exploited victims of a capitalist system. Rather, because of Navajo cultural traditions of gift-giving and helping others, the artists slowly adapted some of the patterns and colors the traders requested into their own designs. By the 1890s, Hubbell and others commissioned paintings depicting particular weaving styles and encouraged Navajo weavers to copy them, reinforcing public perceptions of traditional Navajo weaving. Even the Navajos came to revere certain designs as "the weaving of the ancestors."

Enhanced by numerous illustrations, including eight color plates, this volume traces the intricate play of cultural and economic pressures and personal relationships between artists and traders that guided Navajo weavers to produce textiles that are today emblems of the Native American Southwest.

"Winner - Multi-cultural Subject, New Mexico Book Awards"

This study is the first gendered study of the prehistoric rock art of Naquane National Park in Valcamonica, northern Italy. Its purpose is to identify and describe gendered representations and imagery in the rock art of Naquane, in order to reconstruct potential gender roles, gender relations and ritual activities during the Bronze and Iron Age periods. The social role of art in non-western cultures is explored, as well as recent work on gender studies in archaeology and rock art, with a view towards placing the prehistoric rock art of Naquane within a social and cultural context. Gender-specific access to and usage of the rock art sites during successive phases of prehistory is considered and analysis is presented of the possible rituals being portrayed in the rock art and their potential social implications. Discussion also focuses on the social and ritual construction of femininity and masculinity during different chronological periods, as well as upon possible gendered motifs and sexual imagery in the rock art. The study concludes with a discussion of the incidence of over-carving and the incorporation of earlier images into later rock art panels, considering potential reasons why certain earlier carvings were actively curated among the predominantly male-orientated Iron Age rock art.

Learn to build monster models and put them into incredible scenes using digital imaging and computer editing. You can even put yourself in the midst of the action. 110 pages of color photos, tips, and ideas. A book any monster lover, model builder, or anyone into digital photography and/or computer graphics will enjoy. www.monstermodeling.com

The first art historical study of Yoruba-descended, African Brazilian religious art based on an author's long-term participation in and observation of private and public rituals.

At a time when the art of the African diaspora has aroused much general interest for its multicultural dimensions, Mikelle Smith Omari-Tunkara contributes strikingly rich insights as a participant/observer in the African-based religions of Brazil. She focuses on the symbolism and function of ritual objects and costumes used in the Brazilian candomble (miniature "African" environments or temples) of the Bahia region, which combine Yoruba, Bantu/Angola, Caboclo, Roman Catholic, and/or Kardecist/Spiritist elements. An initiate herself with more than twenty years of study, the author is considered an insider, and has witnessed how practitioners manipulate the "sacred" to encode, in art and ritual, vital knowledge about meaning, values, epistemologies, and history. She demonstrates how this manipulation provides Brazilian descendents of slaves with a sense of agency -- with a link to their African heritage and a locus for resistance to the dominant Euro-Brazilian culture.

Manipulating the Sacred will be of value to students of art history, religion, anthropology, African American studies, and Latin American studies, and to the growing English-speaking community of initiates of African-based religions.

Ask anyone the world over to identify a figure in buckskins with a feather bonnet, and the answer will be "Indian." Many works of art produced by non-Native artists have reflected such a limited viewpoint. In American Indians in British Art, 1700-1840, Stephanie Pratt explores for the first time an artistic tradition that avoided simplification and that instead portrayed Native peoples in a surprisingly complex light. During the eighteenth century, the British allied themselves with Indian tribes to counter the American colonial rebellion. In response, British artists produced a large volume of work focusing on American Indians. Although these works depicted their subjects as either noble or ignoble savages, they also represented Indians as active participants in contemporary society. Pratt places artistic works in historical context and traces a movement away from abstraction, where Indians were symbols rather than actual people, to representational art, which portrayed Indians as actors on the colonial stage. But Pratt also argues that to view these images as mere illustrations of historical events or individuals would be reductive. As works of art they contain formal characteristics and ideological content that diminish their documentary value. Stephanie Pratt, a tribal member of the Crow Creek Dakota Sioux, is Senior Lecturer in the History of Art at the University of Plymouth, Devon, United Kingdom.

In the American Southwest, Native people remain connected to the lands that have been their homes for centuries. In Home: Native People in the Southwest, they tell of that connection, of how it has survived and changed over time, and of how they are preserving it for future generations. Native artists express multiple visions of home in their art. The stories of the people who made the art are all different and yet, as Native people, they have a shared history and land, and their stories have common themes for all people. The permanent collection of the Heard Museum is a part of these stories. In the pages of this book, inspired by the Heard Museum's major new exhibition of the same name, you will encounter many expressions of the meanings of home as they are embodied in clay, pigment, plant materials, fiber, wood, metal, and words by people whose art is indivisible from their lives and whose lives are indivisible from the landscapes in which they live them.

This volume presents the proceedings of Section 18 of the Acts of the XIVth UISPP Congress held at the University of Liege in 2001. Despite the title, the minority of papers relate to museums; the ten papers focus on the preservation and restoration of Palaeolithic art and the history of prehistoric and protohistoric research. Case studies include Celts in Spain, the rock art of Cantabria, Altamira and France, and the management of archaeological data from Isernia La Pineta in Italy. Six papers in English, four in French.

These nineteen papers form the proceedings of Section 8 of the Acts of the XIVth UISPP Congress held at the University of Liege in 2001. They focus on the iconography, symbolism and ideology of Rupestrian art from the Upper Palaeolithic and Mesolithic perids. Supported throughout by illustrated examples, the papers discuss: the anthropological information revealed by Rupestrian art; the purpose and vocabulary of cave art; the themes and mythology; comparisons with the art of Native Americans. The volume includes case studies which cover evidence from Spain, Siberia, the Alps, the Dordogne, Lake Onega in Russia, Denmark, Norway and central Europe. Ten papers in English, the remainder in French.

This study analyses almost 300 known prehistoric rock art sites dating from c.2500 BC set within their environmental context. Susan Searight discusses the themes and motifs represented, comprising anthropomorphs, human hands and feet, weapons, agricultural tools, chariots and geometric forms, and their distribution. Through a series of case studies, Seabright suggests that the preference for certain motifs in certain areas may reflect their different function, for example, as a means of communication among nomadic pastoralists, as a means of defining territories, denoting ownership, or as commemorative markers. The results of her study of the rock art are put in a Moroccan and North African context.

1923. A wonderfully detailed monograph by Breazeale that is intended as a record of her impressions of the art of the Pima Indians, gained during a two-year stay upon the Reservation. A most interesting look at this Native American tribe!

Explores how the artwork of Native Americans who lived in pueblos in the Southwest reflected their beliefs, traditions, and history.

This stunning collection of 284 rare designs is a bonanza for artists and craftspeople seeking distinctive patterns with a South American Indian flavor. The carefully adapted, authentic motifs include animal and totemic designs, geometric and rectilinear figures, abstracts, grids, and many other styles in a wide range of shapes and sizes.

Delve into the origins and contemporary interpretations of various styles of non-figural Zuni jewelry designs, including nugget work, cluster work, petit point, needle point, snake eye, and channel work. This groundbreaking study establishes the identities of many Zuni artists from the 1940s, '50s, and '60s, and showcases their turquoise and coral pins, bracelets, bolo ties, and other ornaments. Featured are more than fifteen pieces each by masters, past and present, such as Doris and Warren Ondelacy, Alice and Duane Quam, Fannie Weebothee Ondelacy, Julie Ondelacy Lahi, Lee and Mary Weebothee, Alice Leekya Homer, and Ellen Quandelacy. More than three hundred vibrant color photos reveal subtle variations that indicate each master s distinctive style. Published here, for the first time, are cluster work bracelets by Leekya Deyuse, the single most famous jeweler in the Southwest, and Dan Simplicio s nugget work, along with ways to distinguish his from other artists works."

If there is one subject that has failed to come under a serious preview of Indian art, it is erotica. Grossly under-represented and misused -- as a source of titillation by some, as a marketing principle by others -- erotica has finally found the focus it deserves with this book. From the earliest of terracotta images of the mother goddess to Tantric diagrams, from celluloid depictions to palm leaf paintings, from modern art and advertising graffiti to the fine details of miniature paintings, this book covers ground that others have not ventured into. Finding a striking continuity in the motifs used in erotic art, it grounds them in the principles that have shaped brush strokes and line drawings, curvatures and camera focuses through the centuries. Varied visuals, some as old as Indian civilisation itself, most as sensuous as the topic they cover, chart this fresh rediscovery.

It seems that, over recent years, the term landscape has received much discussion, albeit based on the mechanics of landscape. What has been omitted is the construction of landscape in terms of aesthetics, knowledge, emotion, interpretation and application. Although landscape is 'there', we control the imagination and cognitive construction of it. Fundamentally, landscape can be defined as a series of 'spaces' that become 'places', and, within this volume (the product of a number of conference sessions run between 1997-99 by the Theoretical Archaeology Group), 17 contributors re-address the importance of space/place and suggest both may be considered as part of an archaeological assemblage. Some chapters also attempt to place rock art into a narrative, placing its historical value into a prehistoric context.

A guide to Pueblo and Navajo pottery and pottery artists from Arizona and New Mexico, showcasing work that combines traditional styles with new interpretations. Parts I and II present vessels and figures arranged alphabetically by potters in various tribal families. Part III is a directory of artist

Derived from a session at the European Association of Archaeologists 4th annual meeting at Gothenburg in 1998. These eight papers address the various and varied theoretical perspectives on social representation in rock art. Existing theories are challenged and new ideas presented in this study of contemporary rock art research.