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.

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

Tired of reading negative and disparaging remarks directed at Indigenous people of Winnipeg in the press and social media, artist KC Adams created a photo series that presented another perspective. Called "Perception Photo Series," it confronted common stereotypes of First Nation, Inuit and Metis people to illustrate a more contemporary truthful story. First appearing on billboards, in storefronts, in bus shelters, and projected onto Winnipeg's downtown buildings, Adams's stunning photographs now appear in the book, Perception: A Photo Series. Meant to challenge the culture of apathy and willful ignorance about Indigenous issues, Adams hopes to unite readers in the fight against prejudice of all kinds. Perception is one title in The Debwe Series.

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).

The Micmac Indian Craftsmen of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions -- including at Expo 67 -- and their designs were featured on prints, silkscreened notecards, jewellery, tapestries, and even English porcelain. Primarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent. By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this ground-breaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.

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.

Huichol Indian yarn paintings are one of the world's great indigenous arts, sold around the world and advertised as authentic records of dreams and visions of the shamans. Using glowing colored yarns, the Huichol Indians of Mexico paint the mystical symbols of their culture—the hallucinogenic peyote cactus, the blue deer-spirit who appears to the shamans as they croon their songs around the fire in all-night ceremonies deep in the Sierra Madre mountains, and the pilgrimages to sacred sites, high in the central Mexican desert of Wirikuta. Hope MacLean provides the first comprehensive study of Huichol yarn paintings, from their origins as sacred offerings to their transformation into commercial art. Drawing on twenty years of ethnographic fieldwork, she interviews Huichol artists who have innovated important themes and styles. She compares the artists' views with those of art dealers and government officials to show how yarn painters respond to market influences while still keeping their religious beliefs. Most innovative is her exploration of what it means to say a tourist art is based on dreams and visions of the shamans. She explains what visionary experience means in Huichol culture and discusses the influence of the hallucinogenic peyote cactus on the Huichol's remarkable use of color. She uncovers a deep structure of visionary experience, rooted in Huichol concepts of soul-energy, and shows how this remarkable conception may be linked to visionary experiences as described by other Uto-Aztecan and Meso-American cultures.

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.

A major contribution to both art history and Latin American studies, A Culture of Stone offers sophisticated new insights into Inka culture and the interpretation of non-Western art. Carolyn Dean focuses on rock outcrops masterfully integrated into Inka architecture, exquisitely worked masonry, and freestanding sacred rocks, explaining how certain stones took on lives of their own and played a vital role in the unfolding of Inka history. Examining the multiple uses of stone, she argues that the Inka understood building in stone as a way of ordering the chaos of unordered nature, converting untamed spaces into domesticated places, and laying claim to new territories. Dean contends that understanding what the rocks signified requires seeing them as the Inka saw them: as potentially animate, sentient, and sacred. Through careful analysis of Inka stonework, colonial-period accounts of the Inka, and contemporary ethnographic and folkloric studies of indigenous Andean culture, Dean reconstructs the relationships between stonework and other aspects of Inka life, including imperial expansion, worship, and agriculture. She also scrutinizes meanings imposed on Inka stone by the colonial Spanish and, later, by tourism and the tourist industry. A Culture of Stone is a compelling multidisciplinary argument for rethinking how we see and comprehend the Inka past.

Part art history, part detective story, this gripping insider's account of the Papunya art movement--which was centered around the 1,000 small, painted panels created at the remote northern territory Aboriginal settlement of Papunya during 1971 and 1972--goes beyond a mere discussion of the astronomical auction prices in the late 1990s that first drew many people's attention to these pieces. Celebrating Australian art history, this study explores the background of the artists themselves as well as restoring the boards' historical and cultural significance as the first inscriptions of the religious beliefs and sacred visual language of the Western Desert peoples. It additionally looks at the controversies that surrounded the paintings at the time of their creation, the role of teacher Geoffrey Bardon, the depiction of sacred imagery, what they mean to the artists' descendants, and the distant worlds of art auctions and international exhibitions--telling the larger story of Aboriginal art in Australia and beyond.

While blood quantum laws have been used to determine an individual's inclusion in a Native group, Eiteljorg fellowship artists have instead come to view themselves as belonging to the "Art Tribe," through the universal process of art creation and collaboration. Art Quantum presents a selection of the extraordinary work created by the five artists selected for the 2009 Eiteljorg Fellowship. In his essay on the long career of Edward Poitras (Gordon First Nation), Alfred Young Man (Cree) places Poitras's installations in the context of Metis and Indian identity as well as the White art establishment in Canada. Gail Tremblay (Onondaga / Micmac) illuminates the work of Jim Denomie (Ojibwa), reading his narrative paintings and intimately scaled portraits through their complex and humorous references to history, art history, and current events. Jimmie Durham (Cherokee) uses the analogy of music to explore the language of abstraction in sculptural and two-dimensional works by Jeffrey Gibson (Mississippi Band of Choctaw / Cherokee), while the subtle and often monochromatic sculptural installations of Faye HeavyShield (Kainai-Blood) are sensitively interpreted by Lee-Ann Martin (Mohawk). The volume closes with Polly Nordstrand's (Hopi / Norwegian) reflection on the themes of longing/not belonging and placement/displacement that Wendy Red Star (Crow) documents in her photographs and appliqued dance shawls. It is the goal of the Eiteljorg Fellowship to be a starting point and a platform for exploration of Native identity and artistic expression beyond the concepts of blood quantum laws. Essays by James Nottage, Jennifer Complo McNutt, Ashley Holland (Cherokee), and Paul Chaat Smith (Comanche) help to situate the larger issue of Native identity in the contemporary art world.

With examples from every region of the continent, "Handmade in Africa" demonstrates the wide variety of African art. The splendid art of the African peoples occupies an unusual place in the concert of world cultures. It is anything but 'primitive', being characterized rather by a highly developed sense of design - whether it's masks, ancestral figures, ceramics, basketry, metalwork, or weapons. The items in this volume, mostly datable only with difficulty, start with a sculptured head from Nigeria, which may be as old as the 12th century, and extend from a 15th/16th-century salt container from Sierra Leone to the 19th and 20th centuries, to which most of the extant artworks belong.With examples from every region of the continent - from Mali, Democratic Republic of Congo, and the Republic of Congo as well as a dozen other countries including Madagascar and South Africa - this book demonstrates the wide variety of African art, describing the social and religious background without which this art, which today is increasingly threatened with extinction, could not be understood. Each book in Taschen's "Basic Genre Series" features: a detailed introduction with approximately 35 photographs, plus a timeline of the most important events (political, cultural, scientific, etc.) that took place during the time period and a selection of the most important works of the epoch; each is presented on a 2-page spread with a full-page image and, on the facing page, a description/interpretation of the work and brief biography of the artist as well as additional information such as a reference work, portrait of the artist, and/or citations.

Facing the monumental issues of our time.In a 2012 performance piece, Rebecca Belmore transformed an oak tree surrounded by monuments to colonialism in Toronto's Queens Park into a temporary "non-monument" to the Earth.For more than 30 years, she has given voice in her art to social and political issues, making her one of the most important contemporary artists working today.Employing a language that is both poetic and provocative, Belmore's art has tackled subjects such as water and land rights, women's lives and dignity, and state violence against Indigenous people. Writes Wanda Nanibush, "by capturing the universal truths of empathy, hope and transformation, her work positions the viewer as a witness and encourages us all to face what is monumental."Rebecca Belmore: Facing the Monumental presents 28 of her most famous works, including Fountain, her entry to the 2005 Venice Biennale, and At Pelican Falls, her moving tribute to residential school survivors, as well as numerous new and in-progress works. The book also includes an essay by Wanda Nanibush, Curator of Indigenous Art at the AGO, that examines the intersection of art and politics. It will accompany an exhibition at the Art Gallery of Ontario scheduled from 12 July to 21 October 2018.Rebecca Belmore is one of Canada's most distinguished artists. She has won the Hnatyshyn Award (2009), the Governor General's Award in Visual and Media Arts (2013), and the Gershon Iskowitz Prize (2016). A member of Lac Seul First Nation, she was the first Aboriginal woman to represent Canada at the Venice Biennale. She has also participated in more than 60 one-person and group exhibitions around the world.

Are images and representations central to understanding Native Americans? How do Native artists, as producers of visual culture, respond to what art critic Lucy Lippard has called "the overwhelming burdens" of Indian art? In this pathbreaking study, anthropologist Nancy Mithlo examines the power of stereotypes, the utility of pan-Indianism, the significance of realist ideologies, and the employment of alterity in Native American arts. Addressing the question of how visual referents communicate across cultural divides, she aims to deconstruct the common understanding of stereo-types and suggest that they may play a role in conveying otherness. By using phrases such as "strategic essentialism" and "conventional representations," she analyzes the ways in which disparate groups tend to employ damaged knowledges in trying to communicate their own values and those of contrasting groups, especially when other conceptual tools are unavailable.

Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists' productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print.

An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas."

Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.

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"

The story of the Chickasaw Nation is one of survival, persistence, triumph, achievement, and beauty. It is the story of a people determined to not only survive -- but to prosper and live well. Built with this fundamental ideal, Chickasaw government stands on a foundation that serves its people with the ebb and flow of history's events. It is a chronicle of unsurpassed natural splendor and spiritual connectivity to the land that can never be permanently separated from the hearts of Chickasaws. It is a collective mind-set and determination rooted in community and loyalty to family. Like the Hummingbird Warrior, it is ever vigilant, industrious, energetic and adaptable." -- Bill Anoatubby, Governor of the Chickasaw Nation. From their homelands (what is now Alabama, Mississippi, Kentucky, and Tennessee), to the removal of the Chickasaws to Indian Territory, and to their thriving nation of today, the Chickasaw people represent one of the most resilient cultures in American history. CHICKASAW: UNCONQUERED AND UNCONQUERABLE tells their own incredible story through vivid photography and rich essays. Grounded in their deep devotion to family and community, the Chickasaw's cultural identity is at the root of each individual. Featuring the award-winning photography of David Fitzgerald and essays by Chickasaw writers Jeannie Barbour, American Book Award-winner Amanda Cobb, and Linda Hogan, the Chickasaw's unique history and identity emerge in this authoritative book. Investing in their future while thriving as a nation today continues to make them truly unconquered and unconquerable.

A major new history of craft that spans three centuries of making and thinking in Aotearoa New Zealand and the wider Moana (Pacific). Paying attention to Pakeha (European New Zealanders), Maori, and island nations of the wider Moana, and old and new migrant makers and their works, this book is a history of craft understood as an idea that shifts and changes over time. At the heart of this book lie the relationships between Pakeha, Maori and wider Moana artistic practices that, at different times and for different reasons, have been described by the term craft. It tells the previously untold story of craft in Aotearoa New Zealand, so that the connections, as well as the differences and tensions, can be identified and explored. This book proposes a new idea of craft--one that acknowledges Pakeha, Maori and wider Moana histories of making, as well as diverse community perspectives towards objects and their uses and meanings.