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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.
The unique cultural landscape of southern Africa (Nambia, Zimbabwe, Botswana, Mozambique and South Africa) is a highly dynamic and complex area where old traditions are confronted by explosive social and political upheavals. The resulting contradictions and conflicts stimulate a directions as well as ancient roots. The collection of highly varied essays by knowledgeable experts on Africa ranges from historical and political problems to questions of artistic production and of how to deal with culture and nature in the face of industrialisation and globalisation. Art is one of the major subjects, and the contemporary artistic activities, including photography. The publication presents a picture of a vigorously alive southern Africa, contradicting common western Cliches which regard the region as having no art and solely being riddled with problems of post-apartheid, crime and AIDS.
In the 1980s-at the height of Thatcherism and in the wake of civil unrest and rioting in a number of British cities-the Black Arts Movement burst onto the British art scene with breathtaking intensity, changing the nature and perception of British culture irreversibly. This richly illustrated volume presents a history of that movement. It brings together in a lively dialogue leading artists, curators, art historians, and critics, many of whom were actively involved in the Black Arts Movement. Combining cultural theory with anecdote and experience, the contributors debate how the work of the black British artists of the 1980s should be viewed historically. They consider the political, cultural, and artistic developments that sparked the movement even as they explore the extent to which such a diverse body of work can be said to constitute a distinct artistic movement-particularly given that "black" in Britain in the 1980s encompassed those of South Asian, North and sub-Saharan African, and Caribbean descent, referring as much to shared experiences of disenfranchisement as to shades of skin.In thirteen original essays, the contributors examine the movement in relation to artistic practice, public funding, and the transnational art market and consider its legacy for today's artists and activists. The volume includes a unique catalog of images, an extensive list of suggested readings, and a descriptive timeline situating the movement vis-a-vis relevant artworks and films, exhibitions, cultural criticism, and political events from 1960 to 2000. A dynamic living archive of conversations, texts, and images, Shades of Black will be an essential resource. Contributors. Stanley Abe, Jawad Al-Nawab, Rasheed Araeen, David A. Bailey, Adelaide Bannerman, Ian Baucom, Dawoud Bey, Sonia Boyce, Allan deSouza, Jean Fisher, Stuart Hall, Lubaina Himid, Naseem Khan, susan pui san lok, Kobena Mercer, Yong Soon Min, Keith Piper, Zineb Sedira, Gilane Tawadros, Leon Wainwright, Judith Wilson
The first book devoted to the art of the vast South Seas island groups in the Bismarck Archipelago. This book features stunning, ephemeral creations made with natural materials such as plant fibre, light woods, bark cloth, and tree pith - among the most colourful of the Pacific Island arts. An inspiration to the German Expressionists and the Surrealists, these pieces combine colour, fragility, and a sense of temporal purpose. Essays explore the art history of the region and set the beautifully photographed works in cultural context.
Baskets made by the people of the mid-Columbia River are among the finest examples of Indian textile art in North America, and they are included in the collections of most major museums. The traditional designs and techniques of construction reveal a great artistic heritage that links modern basketmakers to their ancestors. Yet baskets are also everyday objects of a utilitarian nature that reveal much about mid-Columbia culture---a flat twined bag has greatest value when it is plump with dried roots, a coiled basket when full of huckleberries. In Columbia River Basketry, Mary Schlick writes about the weavers who at the time of European contact lived along the Columbia River from just above its confluence with the Yakima River westward to the vicinity of present-day Portland, Oregon, and Indian groups living along the river. She presents the baskets in the context of the lives of the people who created and used them. She also writes about the descendants of the early basket weavers, to whom basketry skills have been passed and from whom she herself learned to make baskets. Schlick blends mythology, personal reminiscences, materials, and basketry techniques. Written with deep understanding and appreciation of the artists and their work, Columbia River Basketry will be an inspirational sourcebook for basket weavers and other craftspeople. It will also serve as an invaluable reference for scholars, curators, and collectors in identifying, dating, and interpreting examples of Columbia River basketry.
Woven Identities presents the finest examples of classic era Native basketry (1870-1930) along with contemporary examples that exemplify the vibrant nature of the art today from the Southwest, California, Great Basin, Plateau, Northwest Coast and Arctic tribes.
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.
In Maya theology, everything from humans and crops to gods and the world itself passes through endless cycles of birth, maturation, dissolution, death, and rebirth. Traditional Maya believe that human beings perpetuate this cycle through ritual offerings and ceremonies that have the power to rebirth the world at critical points during the calendar year. The most elaborate ceremonies take place during Semana Santa (Holy Week), the days preceding Easter on the Christian calendar, during which traditionalist Maya replicate many of the most important world-renewing rituals that their ancient ancestors practiced at the end of the calendar year in anticipation of the New Year's rites. Marshaling a wealth of evidence from Pre-Columbian texts, early colonial Spanish writings, and decades of fieldwork with present-day Maya, The Burden of the Ancients presents a masterfully detailed account of world-renewing ceremonies that spans the Pre-Columbian era through the crisis of the Conquest period and the subsequent colonial occupation all the way to the present. Allen J. Christenson focuses on Santiago Atitlan, a Tz'utujil Maya community in highland Guatemala, and offers the first systematic analysis of how the Maya preserved important elements of their ancient world renewal ceremonies by adopting similar elements of Roman Catholic observances and infusing them with traditional Maya meanings. His extensive description of Holy Week in Santiago Atitlan demonstrates that the community's contemporary ritual practices and mythic stories bear a remarkable resemblance to similar cultural entities from its Pre-Columbian past.
Crowning Glories integrates Louis XIV's propaganda campaigns, the transmission of Northern art into France, and the rise of empiricism in the eighteenth century - three historical touchstones - to examine what it would have meant for France's elite to experience the arts in France simultaneously with Netherlandish realist painting. In an expansive study of cultural life under the Sun King, Harriet Stone considers the monarchy's elaborate palace decors, the court's official records, and the classical theatre alongside Northern images of daily life in private homes, urban markets, and country fields. Stone argues that Netherlandish art assumes an unobtrusive yet, for the history of ideas, surprisingly dramatic role within the flourishing of the arts, both visual and textual, in France during Louis XIV's reign. Netherlandish realist art represented thinking about knowledge that challenged the monarchy's hold on the French imagination, and its efforts to impose the king's portrait as an ideal and proof of his authority. As objects appreciated for their aesthetic and market value, Northern realist paintings assumed an uncontroversial place in French royal and elite collections. Flemish and Dutch still lifes, genre paintings, and cityscapes, however, were not merely accoutrements of power, acquisitions made by those with influence and money. Crowning Glories reveals how the empirical orientation of Netherlandish realism exposed French court society to a radically different mode of thought, one that would gain full expression in the Encyclop?die of Diderot and d'Alembert.
Long before the European discovered the riches of America, the Mexican Indians had developed and passed on unique artistic traditions. The Aztecs in particular inherited the Toltec and Mixtec cultures, as well as instilling their own experiences and beliefs into the local artwork. A broad spectrum of these bold and intricate patterns and motifs -- serpents, monsters, calendar stone designs, eagles, sun-designs, architectural ornaments, pottery decoration, et cetera -- is presented here.
Claude Levi-Strauss's fascination with Northwest Coast Indian art dates back to the late 1930s. "Sometime before the outbreak of the Second World War," he writes, "I had already bought in Paris a Haida slate panel pipe." In New York in the early forties, he shared his enthusiasm with a group of Surrealist refugee artists with whom he was associated. "Surely it will not be long," he wrote in an article published in 1943, "before we see the collections from this part of the world moved from ethnographic to fine arts museums to take their just place amidst the antiquities of Egypt of Persia and the works of medieval Europe. For this art is not unequal to the greatest, and, in the course of the century and a half of its history that is known to us, it has shown evidence of a superior diversity and has demonstrated apparently inexhaustible talents for renewal." In The Way of the Masks, first published more than thirty years later, he returned to this material, seeking to unravel a persistent problem that he associated with a particular mask, the Swaihwe, which is found among certain tribes of coastal British Columbia. This book, now available for the first time in an English translation, is a vivid, audacious illustration of Levi-Strauss's provocative structural approach to tribal art and culture. Bringing to bear on the Swaihwe masks his theory that mythical representations cannot be understood as isolated objects, Levi-Strausss began to look for links among them, as well as relationships between these and other types of masks and myths, treating them all as parts of a dialogue that has been going on for generations among neighboring tribes. The wider system that emerges form his investigation uncovers the association of the masks with Northwest coppers and with hereditary status and wealth, and takes the reader as far north as the Dene of Alaska, as far south as the Yurok of northern California, and as far away in time and space as medieval Europe. As one reader said of this book, "It will be controversial, as his work always is, and it will stimulate more scholarship on the Northwest Coast than any other single book that I can think of."
A collection of songs by the late Aboriginal singer Dougie Young, who began writing and performing around Wilcannia and western New South Wales in the 1950s and '60s. His songs tell of the life of Aboriginal people in Wilcannia -- and also explore Aboriginality in a way that was quite original for the time, touching on oppression, racism and land rights. Approximate running time: 35 minutes.
The artist-makers represented here come from every region of the United States, making this book a compilation of many native traditions as well as modern styles. Exciting background ideas are expressed in the details of these works, so their study and appreciation is quite fascinating. Over 50 living jewelry masters of Native American heritage are featured in this lavish new book. Their dynamic work includes many pieces that were awarded at recent juried shows. Tufa casting, stone cutting, engraving, metalsmithing, and other technical skills that are highly refined and personalized are evident, demonstrating the work of true Masters in this evolving field. See and be inspired by new designs in bead necklaces, silver bracelets, pendants, pins, earrings, belts, and rings, as well as sculpture that ranks as wearable art. Marvel at the new pieces by top masters living today.
Originally published in 1896, this classic of ethnography was assembled by a skilled illustrator who first encountered Maori tattoo art during his military service in New Zealand. Maori tattooing (moko) consists of a complex design of marks, made in ink and incised into the skin, that communicate the bearer's genealogy, tribal affiliation, and spirituality. This well-illustrated volume summarizes all previous accounts of moko and encompasses many of Robley's own observations. He relates how moko first became known to Europeans and discusses the distinctions between men and women's moko, patterns and designs, moko in legend and song, and the practice of mokomokai: the preservation of the heads of Maori ancestors. Unbridged republication of the edition published by Chapman and Hall, Limited, London, 1896.
Rock Art explores the fascinating history of ancient human-made stone markings that have puzzled historians, archaeologists, and hikers alike for centuries. What is rock art, and who created these mysterious symbols, and why are so many pieces of artwork similar across disparate and long-forgotten cultures? How was rock art made-and, more importantly, why? These questions and more are addressed in this comprehensive guide, complete with full-color images and travel listings. Whether you're fascinated by the wondrous ancient imagery imprinted on the landscape or just curious about the markings alongside your favorite hiking trail, Rock Art is the only guide you need to better understand this mysterious and beautiful art form.
West Africa has a rich and long artistic tradition. In particular, Ivory Coast is home to a vast number of sculptors, some of which have created work that bears comparison with masters of European art, such as Michelangelo or Picasso. Yet the view still prevails that no aesthetic principles can be found in traditional African art, nor that independent artistic personalities have ever emerged from this tradition. Only tribal workshops with anonymous artists are identified. African Masters proves this simplistic and patronising verdict wrong. Essays by renowned scholars investigate the role of the artists in traditional, and modern, society, their ideal of beauty and its transformation into works of art. The book also offers the first comprehensive overview of the most significant sculptors from Ivory Coast and its neighbouring countries. It discusses the oeuvre of ancient masters from the people of Guro, Senufo, Dan, Baule, Lobi, and from the lagoons and puts them in context with local contemporary art. African Masters features around 200 masterpieces from private and public collections, including that of Museum Rietberg Zurich, all in full colour and many of full-page plates.
mudging is the burning of herbs as a spiritual practice. In this new edition of her classic book on smudging, Harvest McCampbell explains and illustrates this integral part of traditional Native American life. She also offers valuable advice on how to reclaim your own traditions and find your personal healing rituals. Learn how to make smudge sticks and identify, collect, and grow a wide range of sacred plants for smudging. This expanded edition includes research techniques, sources of potent smudging herbs, new information on the use of sacred plants, and more.
This classic compendium of ancient Indian artifacts from the entire southeastern United States remains an indispensable reference source for professionals and enthusiasts alike.
From utilitarian arrowheads to beautiful stone effigy pipes to ornately-carved shell disks, the photographs and drawings in "Sun Circles and Human Hands " present the archaeological record of the art and native crafts of the prehistoric southeastern Indians. Painstakingly compiled in the 1950s by two sisters who traveled the eastern United States interviewing archaeologists and collectors and visiting the major repositories, "Sun Circles and Human Hands" is remarkable for its breadth of illustration of Indian-made artifacts and its comprehensive documentation. Although research over the last 50 years has disproven many of the early theories reported in the text--which were not the editors' theories but those of the archaeologists of the day--the excellent illustrations of objects no longer available for examination have more than validated the lasting worth of this popular book.
Broadly acclaimed when it first appeared, this new printing has the added value of Knight's foreword, which places the work in its proper context. Useful to museums, state and national parks, school libraries, gift stores, archaeological agencies, and private collections, "Sun Circles and Human Hands" is a rich pictorial survey accessible to anyone interested in early American Indian culture.
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
Winner, National Association for Chicana and Chicano Studies Book Award, 2019 The Royal Chicano Air Force produced major works of visual art, poetry, prose, music, and performance during the second half of the twentieth century and first decades of the twenty-first. Materializing in Sacramento, California, in 1969 and established between 1970 and 1972, the RCAF helped redefine the meaning of artistic production and artwork to include community engagement projects such as breakfast programs, community art classes, and political and labor activism. The collective's work has contributed significantly both to Chicano/a civil rights activism and to Chicano/a art history, literature, and culture. Blending RCAF members' biographies and accounts of their artistic production with art historical, cultural, and literary scholarship, Flying under the Radar with the Royal Chicano Air Force is the first in-depth study of this vanguard Chicano/a arts collective and activist group. Ella Maria Diaz investigates how the RCAF questioned and countered conventions of Western art, from the canon taught in US institutions to Mexican national art history, while advancing a Chicano/a historical consciousness in the cultural borderlands. In particular, she demonstrates how women significantly contributed to the collective's output, navigating and challenging the overarching patriarchal cultural norms of the Chicano Movement and their manifestations in the RCAF. Diaz also shows how the RCAF's verbal and visual architecture-a literal and figurative construction of Chicano/a signs, symbols, and texts-established the groundwork for numerous theoretical interventions made by key scholars in the 1990s and the twenty-first century.
Aztec painted manuscripts and sculptural works, as well as indigenous and Spanish sixteenth-century texts, were filled with images of foodstuffs and food processing and consumption. Both gods and humans were depicted feasting, and food and eating clearly played a pervasive, integral role in Aztec rituals. Basic foods were transformed into sacred elements within particular rituals, while food in turn gave meaning to the ritual performance. This pioneering book offers the first integrated study of food and ritual in Aztec art. Elizabeth Moran asserts that while feasting and consumption are often seen as a secondary aspect of ritual performance, a close examination of images of food rites in Aztec ceremonies demonstrates that the presence-or, in some cases, the absence-of food in the rituals gave them significance. She traces the ritual use of food from the beginning of Aztec mythic history through contact with Europeans, demonstrating how food and ritual activity, the everyday and the sacred, blended in ceremonies that ranged from observances of births, marriages, and deaths to sacrificial offerings of human hearts and blood to feed the gods and maintain the cosmic order. Moran also briefly considers continuities in the use of pre-Hispanic foods in the daily life and ritual practices of contemporary Mexico. Bringing together two domains that have previously been studied in isolation, Sacred Consumption promises to be a foundational work in Mesoamerican studies.
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