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This is the fourth in a biennial series of exhibitions and supporting catalogues begun in 1999 to bring the work of Native American fine artists to greater public attention. Following the pattern established at its inception, the 2005 Eiteljorg Fellowship honours one distinguished artist and five fellows. This year, the distinguished artist is sculptor John Hoover (Aleut). The fellows are painter Harry Fonseca (Maidu), painter James Lavadour (Walla Walla), sculptor and installation artist C. Maxx Stevens (Seminole/Muskogee), mixed media artist Tanis Maria S'eiltin (Tlingit), and painter, sculptor, and printmaker MarieWatt (Seneca). The Eiteljorg Fellowship was established to help create better public understanding of Native people and their participation in a modern world of art. The goal of the Fellowship is not necessarily to make Native fine art a part of the mainstream of the larger world of fine art, but to be part of the struggle for self-expression and to participate in the continually evolving worldwide definition of what art is.
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
Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.
""This is a stimulating book, which covers much new material
Scholarship on sub-Saharan Africa is very thinly theorized. Few
scholars seem to have the range to make connections with art
practice elsewhere and generally offer interpretations which
struggle to get beyond ethnographic documentation. Few monographs
engage with the wider debates. This book is an exception.""
"African Dream Machines" takes African headrests out of the category of functional objects and into the more rarefied category of "art" objects. Styles in African headrests are usually defined in terms of Western art and archaeological discourses, but this book interrogates these definitions and demonstrates the shortcomings of defining a single formal style model as exclusive to a single ethnic group.
This book has been in the making for fifteen years, starting with research on the traditional woodcarving of the Shona-and Venda-speaking peoples of Zimbabwe and South Africa. Among the artifacts made by South African peoples, headrests were the best known and during a year spent in Europe in 1975-1976, Anitra Nettleton discovered museum stores full of unacknowledged masterpieces made by speakers of numerous Southern African languages. A Council Fellowship from the University of the Witwatersrand in 1990 enabled the writer to develop an archive in the form of notes, photographs, and sketches of each and every headrest she encountered. Many examples from South African collections were added from the early 1990s onwards, expanding the field vastly. Nettelton executed drawings of each and every headrest encountered, and they became a major part of the project in their own right.
"African Dream Machines" questions the assumed one-to-one relationship between formal styles and ethnic identities or classifications. Historical factors are used to demonstrate that "authenticity," in the form sought by collectors of antique African art, is largely a construct.
"Anitra Nettleton" is a professor in the Wits School of Arts, Johannesburg (South Africa). This manuscript was awarded the University of the Witwatersrand Research Committee Publication Award in 2006.
OBSERVATIONS OF THE SUN, moon, planets, and stars played a central role in ancient Maya lifeways, as they do today among contemporary Maya who maintain the traditional ways. This pathfinding book reconstructs ancient Maya astronomy and cosmology through the astronomical information encoded in Precolumbian Maya art and confirmed by the current practices of living Maya peoples.
Susan Milbrath opens the book with a discussion of modern Maya beliefs about astronomy, along with essential information on naked-eye observation. She devotes subsequent chapters to Precolumbian astronomical imagery, which she traces back through time, starting from the Colonial and Postclassic eras. She delves into many aspects of the Maya astronomical images, including the major astronomical gods identified with the sun, moon, naked-eye planets, and constellations and their associated glyphs, astronomical almanacs in the Maya codices (painted books), and changes in the imagery of the heavens over time.
This investigation yields new data and a new synthesis of information about the specific astronomical events and cycles recorded in Maya art and architecture. The first major study to focus on the relationship between art and astronomy in ancient Maya culture, this book will be essential reading for students and scholars of Precolumbian art history and anthropology, archaeoastronomy, ethnography, and comparative mythology.
Susan Milbrath is Curator of Latin American Art and Archaeology at the Florida Museum of Natural History and Affiliate Professor of Anthropology at the University of Florida. A former student of Esther Pasztory, she did postdoctoral work with Michael Coe and Anthony F. Aveni and served asguest curator of "Star Gods of the Ancient Americas", a traveling exhibit that opened at the American Museum of Natural History and toured nationally between 1982 and 1984.
To Conserve a Legacy documents an outstanding sampling of paintings, prints, drawings, photographs, and sculptures owned by Clark Atlanta University, Fisk University, Hampton University, Howard University, North Carolina Central University, and Tuskegee University. Many of this nation's Historically Black Colleges and Universities (HBCUs) have amassed significant collections of American art and founded galleries and museums on their campuses. These collections provide a rich resource for the study of African American art, yet many also possess a diverse array of nineteenth- and twentieth-century American art. To Conserve a Legacy documents an outstanding sampling of paintings, prints, drawings, photographs, and sculptures owned by Clark Atlanta University, Fisk University, Hampton University, Howard University, North Carolina Central University, and Tuskegee University.This book serves as the catalog for a major exhibition and conservation project organized by the Addison Gallery of American Art and The Studio Museum in Harlem, in association with the Williamstown Art Conservation Center and the six participating HBCUs. The book contains a profile of each university collection, color reproductions of many artworks included in the exhibition, biographical information on all the represented artists, and documentation of the conservation and care practices helping to preserve the art for future generations. Two major essays place the HBCU art collections and this collaborative project in a historical context and develop six themes around which the exhibition was organized: Forever Free: Emancipation Visualized; The First Americans; Training the Head, the Hand, and the Heart; The American Portrait Gallery; American Expressionism; and Modern Lives, Modern Impulses. The artists include Romare Bearden, John Biggers, Elizabeth Catlett, Charles Demuth, Arthur Dove, Marsden Hartley, William H. Johnson, Jacob Lawrence, Edmonia Lewis, Archibald Motley, Georgia O'Keeffe, Horace Pippin, P. H. Polk, Alfred Stieglitz, Henry Ossawa Tanner, Doris Ulmann, Carl Van Vechten, Thomas Waterman, James Weeks, Charles White, and many others. The book also contains forty-two entry essays by American scholars on many of the individual artworks. The exhibition was co-curated by Richard Powell, Chairman of the Art and Art History Department at Duke University, and Jock Reynolds, Director of the Yale University Art Gallery.
The decades of the 1960s, '70s, and '80s were a time of growth and change in producing, marketing, and collecting Native American artwork and craftwork. During this time William R. Wright amassed a collection notable for its broad representation of twentieth-century Native American products. Focusing on the Southwest, he included contemporary Pueblo ceramics, Navajo and Hopi textiles, Navajo, Hopi, and Zuni jewelry, and baskets from some forty different Native American groups. The objects Wright gathered, which are now part of the collections of the Peabody Museum of Archaeology and Ethnology, reflect developments in the intersecting worlds of makers, markets, and collectors, including the challenges faced by makers to successfully balance tradition and innovation in their work and their lives.
This volume examines selected objects from the Wright collection to explore the market-influenced environment of modern Native American makers and their work, from what some consider the low end of tourist art multiples to the high end of unique, signed fine art objects.
Although Franz Boas--one of the most influential anthropologists of the twentieth century--is best known for his voluminous writings on cultural, physical, and linguistic anthropology, he is also recognized for breaking new ground in the study of so-called primitive art. His writings on art have major historical value because they embody a profound change in art history. Nineteenth-century scholars assumed that all art lay on a continuum from primitive to advanced: artworks of all nonliterate peoples were therefore examples of early stages of development. But Boas's case studies from his own fieldwork in the Pacific Northwest demonstrated different tenets: the variety of history, the influence of diffusion, the symbolic and stylistic variation in art styles found among groups and sometimes within one group, and the role of imagination and creativity on the part of the artist. This volume presents Boas's most significant writings on art (dated 1889-1916), many originally published in obscure sources now difficult to locate. The original illustrations and an extensive, combined bibliography are included. Aldona Jonaitis's careful compilation of articles and the thorough historical and theoretical framework in which she casts them in her introductory and concluding essays make this volume a valuable reference for students of art history and Northwest anthropology, and a special delight for admirers of Boas.
First Nation's artist Robert E Stanley Sr shares his knowledge and technique in rendering classic Northwest Native drawings. Now you too, can learn to draw some of the legendary animals of the First Nation's tribes, by learning Robert's technique's passed down to him from generation to generation.
Large, bold and colourful, Indigenous Australian art has made an indelible impression on the contemporary imagination. But it is controversial, dividing the stakeholders from those who smell a scam. Whether the artists are victims or victors, there is no denying their impact in the media and on the art world and collectors worldwide. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art world to which they had previously been denied access? Finely illustrated, and now available in paperback, this full historical account makes you question everything you were taught about contemporary art.
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