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.

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.

" Miskwabik, Metal of Ritual examines the thousands of beautiful and intricate ritual works of art -- from ceremonial weaponry to delicate copper pendants and ear ornaments -- created in eastern North America before the arrival of Europeans. The first comprehensive examination of this 3,000-year-old metallurgical tradition, the book provides unique insight into the motivation of the artisans and the significance of these objects, and highlights the brilliance and sophistication of the early civilizations of the Americas.Comparing the ritual architecture and metallurgy of the original Americans with the ethnological record, Amelia M. Trevelyan begins to unravel the mystery of the significance of the objects as well as their special functions within the societies that created them. The book includes dozens of striking color and black and white photographs.

" Rock Art of Kentucky is the first comprehensive documentation of the fragile remnants of Kentucky's prehistoric Native American rock art sites. Found in twenty-two of Kentucky's counties, these sites pan a period of more than three thousand years. The most frequent design elements in Kentucky rock art are engravings of the footprints of birds, quadrupeds, and humans. Other design elements include anthropomorphs, mammals, birds, reptiles, fish, and abstract and geometric figures. Included in the book are stunning illustrations of the sixty confirmed sites and ten destroyed or questionable sites. In the thirty some years during which this information was collected, there has been an alarming deterioration of many of the sites. Ancient carvings have been destroyed by graffiti or have lost extensive detail because of climatic or environmental conditions, such as acid rain. Although all the Kentucky sites are officially listed on the National register of Historic Places, several no long exist or are at present inaccessible. In addition to making data available for the first time to the national and international archaeological community for further comparative and interpretive studies, Rock Art of Kentucky is also for nonspecialists interested in prehistoric Kentucky and Native American studies.

"This is a strange and powerful story, based on impeccable scholarship, and compellingly told. It is one of the few academic books on the Maya that I would recommend to everyone." -- New Scientist "This is a significant contribution to the field.... Quirigua, although well-studied archaeologically, has not received this kind of single dedicated study of monuments.... This is not because the site and its art are unimportant; as this study amply demonstrates, the artwork of the site is of great significance within the gamut of Classic Maya art." -- Rosemary A. Joyce, Professor of Anthropology, University of California, Berkeley

The ancient Maya city of Quirigua occupied a crossroads between Copan in the southeastern Maya highlands and the major centers of the Peten heartland. Though always a relatively small city, Quirigua stands out because of its public monuments, which were some of the greatest achievements of Classic Maya civilization. Impressive not only for their colossal size, high sculptural quality, and eloquent hieroglyphic texts, the sculptures of Quirigua are also one of the few complete, in situ series of Maya monuments anywhere, which makes them a crucial source of information about ancient Maya spirituality and political practice within a specific historical context.

Using epigraphic, iconographic, and stylistic analyses, this study explores the integrated political-religious meanings of Quirigua's monumental sculptures during the eighth-century A.D. reign of the city's most famous ruler, K'ak' Tiliw. In particular, Matthew Looper focuses on the role of stelae and other sculpture in representing the persona of the ruler not only as a political authority butalso as a manifestation of various supernatural entities with whom he was associated through ritual performance. By tracing this sculptural program from its Early Classic beginnings through the reigns of K'ak' Tiliw and his successors, and also by linking it to practices at Copan, Looper offers important new insights into the politico-religious history of Quirigua and its ties to other Classic Maya centers, the role of kingship in Maya society, and the development of Maya art.

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.

"Allen J. Christenson offers us in this wonderful book a testimony to contemporary Maya artistic creativity in the shadow of civil war, natural disaster, and rampant modernization. Trained in art history and thoroughly acquainted with the historical and modern ethnography of the Maya area, Christenson chronicles in this beautifully illustrated work the reconstruction of the central altarpiece of the Maya Church of Tz'utujil-speaking Santiago Atitla n, Guatemala. The much-loved colonial-era shrine collapsed after a series of destructive earthquakes in the twentieth century. Christenson's close friendship with the Cha vez brothers, the native Maya artists who reconstructed the shrine in close consultation with village elders, enables him to provide detailed exegesis of how this complex work of art translates into material form the theology and cosmology of the traditional Tz'utujil Maya.

"With the author's guidance, we are taught to see this remarkable work of art as the Maya Christian cosmogram that it is. Although it has the triptych form of a conventional Catholic altarpiece, its iconography reveals a profoundly Maya narrative, replete with sacred mountains and life-giving caves, with the whole articulated by a central axis mundi motif in the form of a sacred tree or maize plant (ambiguity intended) that is reminiscent of well-known ancient Maya ideas. Through Christenson's focused analysis of the iconography of this shrine, we are able to see and understand almost firsthand how the modern Maya people of Santiago Atitla n have remembered the imagined universe of their ancestors and placed upon this sacred framework their received truths in time present." -- Gary H. Gossen, Distinguished Professor Emeritus of Anthropology and Latin American Studies, University at Albany, SUNY

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.

In the early twentieth century, a group of elite East coast women turned to the American Southwest in search of an alternative to European-derived concepts of culture. In "Culture in the Marketplace" Molly H. Mullin provides a detailed narrative of the growing influence that this network of women had on the Native American art market--as well as the influence these activities had on them--in order to investigate the social construction of value and the history of American concepts of culture.
Drawing on fiction, memoirs, journalistic accounts, and extensive interviews with artists, collectors, and dealers, Mullin shows how anthropological notions of culture were used to valorize Indian art and create a Southwest Indian art market. By turning their attention to Indian affairs and art in Santa Fe, New Mexico, she argues, these women escaped the gender restrictions of their eastern communities and found ways of bridging public and private spheres of influence. Tourism, in turn, became a means of furthering this cultural colonization. Mullin traces the development of aesthetic worth as it was influenced not only by politics and profit but also by gender, class, and regional identities, revealing how notions of "culture" and "authenticity" are fundamentally social ones. She also shows how many of the institutions that the early patrons helped to establish continue to play an important role in the contemporary market for American Indian art.
This book will appeal to audiences in cultural anthropology, art history, American studies, women's studies, and cultural history.

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.

During much of the nineteenth century, paintings functioned as the Plains Indians' equivalent to written records. The majority of their paintings documented warfare, focusing on specific war deeds. These pictorial narratives-appearing on hide robes, war shirts, tipi liners, and tipi covers-were maintained by the several dozen Plains Indians tribes, and they continue to expand historical knowledge of a people and place in transition. War Paintings of the Tsuu T'ina Nation is a study of several important war paintings and artifact collections of the Tsuu T'ina (Sarcee) that provides insight into the changing relations between the Tsuu T'ina, other plains tribes, and non-Native communities during the nineteenth and twentieth centuries. Arni Brownstone has meticulously created renderings of the paintings that invite readers to explore them more fully. All known Tsuu T'ina paintings are considered in the study, as are several important collections of Tsuu T'ina artifacts, with particular emphasis on five key works. Brownstone's analysis furthers our understanding of Tsuu T'ina pictographic war paintings in relation to the social, historical, and artistic forces that influenced them and provides a broader understanding of pictographic painting, one of the richest and most important Native American artistic and literary genres.

"Benos-Amos opens for the reader richly detailed adn nuanced vistas into the intellectual and cultural history of one of the major kingdoms of precolonial West Africa." African Studies Review

"The wealth of historiographic resources, the command of relevant literature, the ethnographic research and prudent use of oral traditions give this work a high degree of... intellectual excitement.... a landmark in the field." Warren d Azevedo

Making use of archival and oral resources in this extensively researched book, Paula Girshick Ben-Amos questions to what extent art operates as political strategy. How do objects acquire political meaning? How does the use of art enhance and embody power and authority?"

Aboriginal art has survived the colonial period to become a major feature of contemporary Australian society. This book surveys the great variety in Aboriginal art, from ancient rock paintings to powerful modern works in acrylic on canvas. The patterns and symbols of Aboriginal art, though they may at first appear abstract, are laden with meaning. Morphy explains the social contexts in which art is made and its religious significance.

In the early 1990s, a major exhibition Chicano Art: Resistance and Affirmation, 1965-1985 toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience, the exhibit attracted both praise and controversy, while raising fundamental questions about the nature of multiculturalism in the U.S.

This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally.

Drawing insights from cultural studies, feminist theory, anthropology, and semiotics, this book constitutes a wide-ranging analysis of Chicano/a art, popular culture, and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.

The Chilkat Dancing Blanket is the life story of a magnificent woven robe which graced the shoulders of Indian nobility from Yakutat, Alaska to Vancouver Island, British Columbia. From the legendary origins of this weaving, the story unfolds to tell of the women who wove it, of the source and inspiration for the designs which adorn it, and of the pride and esteem in which it was held by the society which gave it birth. The Dancing Blanket was a robe reserved for ceremony. The remarkable photographs of Tony Hunt performing the Headdress Dance afford a rare opportunity to see this blanket in its full glory, alive and dancing. The story does not stop with an overview of the Dancing Blanket, but delves into the mysteries of its creation. Mountain goat wool and cedar bark were spun and dyed and then woven into intricate, stylized designs. In this magnificently illustrated text, author Cheryl Samuel presents a detailed description of the weaving techniques which were perfected by the Tlingit women. Photographs of Dancing Blankets from many museum collections and of weavings in progress are knitted together with beautiful drawings in order to illustrate this complicated process. The Chilkat Dancing Blanket interweaves legend, history, and technique and is presented in honor of the women who created this exquisite art form. Cheryl Samuel, weaver and teacher of weaving and art, was introduced by Bill Holm to the weaving of the Chilkat Indian women. Her involvement in this beautiful form of weaving has grown from an initial technical curiosity, through practical and academic research, to the present day, which finds her weaving on commission for art collectors and for native artists who wish to own and dance in this stunning traditional dress. In 1980 she received a grant from the National Museums of Canada to travel to the major ethnographic collections of North America, Europe, and Russia. During this trip, her knowledge of the weaving techniques crystallized through careful study of many of the finest of old Dancing Blankets. Most recently, Cheryl Samuel was invited to display her Chilkat weaving at Chicago's Field Museum of Natural History. Cheryl Samuel teaches at Lester B. Pearson College of the Pacific, Victoria, British Columbia, where she served for some years as Director of Fine Arts. She lives in Victoria with her husband and their three children. "Cheryl Samuel unravels the mysteries of the Chilkat weavers by thorough research of surviving masterpieces in museums around the world, then reweaves a very readable and well-illustrated account enriched with the legends of the people and rituals of the potlatch....An essential book for both weaving enthusiasts and admirers of Northwest Coast Indian art." -George S. MacDonald, Senior Archaeologist, National Museum of Man, National Museums of Canada. "The Chilkat Dancing Blanket is without doubt the most complete analysis and detailed description of a single type-example of tribal technology in the literature. It is entirely possible for one with the desire and the patience to follow Cheryl's meticulous descriptions and Sara Porter's exact diagrams to produce a Chilkat blanket, something that can rarely be said for published descriptions of very much simpler techniques....Most will come away with new and deep appreciation of both the technical and artictic wonder of the Chilkat blanket and Cheryl Samuel's remarkable analysis." - Bill Holm, Curator Emeritus, Northwest Coast Indian Art, The Burke Memorial Museum, Seattle.

Volume 27 in the Civilization of the American Indian Series Maria: The Potter of San Ildefonso is the story of Maria Martinez and her husband, Julian, who revived the ancient Pueblo craft of pottery-making and stimulated interest in Southwestern Pueblo pottery among both white people and Indians. Maria Montoya Martinez, or Marie, as she sometimes signs her pottery, is a woman who has become in her own lifetime a legend. She lives in the pueblo of San Ildefonso, near Santa Fe, New Mexico, and although her life has been, as closely as she could make it, the normal life of a woman of her culture, her unusual qualities have set her apart and gained her fame throughout the world. Through her mastery of pottery-making, Maria brought economic gain to her family and her village. However, distressing problems accompanied success and fame. Liquor ultimately wrecked Julian. There was dissension within the pueblo. And there was the succession of admiring white people who invaded her home and interrupted her work. Not least, in Maria view, was the departure of her own children from many Pueblo customs. Inextricably woven into the story of Maria is the story of the pottery of the Southwestern Pueblos, a native craft that has become a national art interest, including the development of the unique black-on-black ware by Julian, the first of which is reproduced among the illustrations. Margaret Lefranc's many accurate drawings of actual pieces of pottery provide an almost complete documentary history of the craft and show some of the finest examples of Maria's art. Her skilled pen has also interpreted faithfully the spirit of Maria, the Pueblo Indians, and the pottery. "Miss Marriott's literary style is superb. She has caught the beautiful, measured pace of Indian talk and, without seeming to make any conscious effort, has written Maria's story with simplicity and understanding as if Marie herself were living her life before you."-Will Davidson in the Chicago Sunday Tribune. ." . . a unique American biography and a unique story of the birth of an art."-Lewis Gannett in the New York Herald Tribune.

Propaganda in Revolutionary Ukraine is a survey of domestic government and party printed propaganda in revolutionary Ukraine. It is the first account in English to study these materials using an illustrative sample of printed texts and to assess their impact based on secret police and agitator situation reports. The book surveys texts published by the Central Rada, the Ukrainian State, the Ukrainian National Republic, the Ukrainian Socialist Revolutionary Party, the Ukrainian Social Democratic and Labour Party, the Independentists, Ukrainian Communist Party (UCP), Ukraine's Bolshevik Party (CPU), and anti-Bolshevik warlords. It includes 46 reproductions and describes the infrastructure that underlay the production and dissemination of printed text propaganda. The author argues that in the war of words neither Ukrainian failures nor Bolshevik success should be exaggerated. Each side managed to sway opinion in its favour in specific places at specific times.

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.

Turtles, ibexes, ships, inscriptions... Thousands of engraved and painted figures intrigue visitors in the wadis of Al-Hajar Mountains. Who created these enigmatic figures and when were they made? What are their hidden meanings? For the first time, this volume tries to answer these questions. It is the result of the archaeological surveys and investigations undertaken by the author over the last ten years under the patronage of the Ministry of Heritage and Culture. In this book, the author takes the reader on an in-depth journey into the various themes present in the rock art of Oman. He offers theories on the chronology and interpretation, while exploring the landscape setting of the decorated panels and how best to research these. Several beautiful photographs and scientific tracings of the rock art accompany the text. The volume closes offering to enthusiasts and tourists a series of guided visits with GPS maps to the most interesting and visible rock art sites protected by Royal Decrees of the Sultanate.

In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world-an undivided earth.

In Art to Come Terry Smith—who is widely recognized as one of the world's leading historians and theorists of contemporary art—traces the emergence of contemporary art and further develops his concept of contemporaneity. Smith shows that embracing contemporaneity as both a historical concept and a condition of the globalized world allows us to grasp how contemporary art exists in a fluid space of increasing interdependencies, multiple contemporaneous modernities, and persistent inequalities. Throughout these essays, Smith offers systematic proposals for writing contemporary art's histories while assessing how curators, critics, philosophers, artists, and art historians are currently doing so. Among other topics, Smith examines the intersection of architecture with other visual arts, Chinese art since the Cultural Revolution, how philosophers are theorizing concepts associated with the contemporary, Australian Indigenous art, and the current state of art history. Art to Come will be essential reading for artists, art students, curators, gallery workers, historians, critics, and theorists.