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 World of Spirits and Ancestors in the Art of Western Sub-Saharan Africa illustrates for the first time a collection of African Sculpture at the Museum of Texas Tech University in Lubbock, Texas. The masks and figurative carvings from the late nineteenth century to the mid-twentieth century are from two sources: Ambassador and Mrs. Julius Walker's gift to ICASALS (International Center for Arid and Semiarid Land Studies), now on permanent loan to the Museum, and the Elliot Howard Collection. Howard, an artist and authority on antiques, chose examples of sculpture for their "variety and aesthetic appeal". His hope was that the pieces he assembled would provide new discoveries for those unacquainted with the art of Africa and an art experience that would "enhance mutual respect among people". Fittingly, then, a context for understanding is the focus of Elizabeth Skidmore Sasser's book. As the title suggests, The World of Spirits and Ancestors introduces carefully chosen examples of masks and figures as social and spiritual communications imbued with the living history and culture of the various peoples of western sub-Saharan Africa. Sasser emphasizes that geography and climate - ranging from semiarid deserts to tropical rain forests - influence not only the art but also the habitations and ceremonial life of the region. More than 180 drawings and illustrations reflect the creative genius that continues to meet environmental challenges and to express the distinctive contributions of the cultures and the people of western sub-Saharan Africa.

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 A Dark Pathway: Precontact Native American Mud Glyphs from 1st Unnamed Cave, Tennessee, Jan Simek and his colleagues present two decades of research at a precontact dark zone cave art site in East Tennessee. Discovered in 1994, 1st Unnamed Cave ushered in an extensive and systematic effort to research precontact cave art sites in the Eastern Woodlands, where the tradition of cave art production was widespread among ancient peoples. Indeed, when a preliminary report about 1st Unnamed Cave was first published in 1997, there were only seven known cave art sites across the Southeast; today, that number exceeds ninety. From the tale of the cave’s discovery in chapter 1 to descriptions of its art in later chapters, A Dark Pathway boasts nearly one hundred maps, high-resolution photographs, and illustrations that bring the story of one of North America’s premier cave art sites to life. Importantly, Simek and his colleagues also orient 1st Unnamed Cave within the broader context of cave art sites across the Southeast, elevating them as a whole to the notable prominence they deserve. Yet his analysis does more than present and situate the discovery of 1st Unnamed Cave within the greater realm of regional cave art site studies; it also calls for the protection and preservation of these fragile sites and for the acknowledgment of the still-vibrant indigenous cultures that produced them. With a foreword by Russell Townsend, tribal historic preservation officer for the Eastern Band of Cherokee Indians, A Dark Pathway is a long-awaited volume more than twenty years in the making. Even as he delivers a comprehensive archaeological analysis, Simek’s clear presentation makes for accessible and thrilling reading not only for students of archaeology, anthropology, and Native American studies, but for interested readers as well.

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.

Members of the Daimyo Hosokawa family served the shogun from the Muromachi Period (1333-1568) as samurai. But the Hosokawa achieved fame not only for their success as warriors. As patrons of the arts and artists across the centuries, they enlarged and cared for an exclusive collection which this volume presents through exquisite pieces. The Hosokawa name stands not only for military achievements but also for famous poets, scholars and artists whose passion lay in particular in No theatre and the tea ceremony. It is a passion that still applies today. Continuing the tradition, Hosokawa Morihiro, a former Prime Minister of Japan, has devoted himself since his retirement from politics to the creation of tea ceramics and calligraphy. Through some 85 magnificent objects, including weapons, splendid armour, China-ink drawings and paintings, ceramics and lacquer work as well as theatre masks and costumes, the volume reveals the glittering panorama of a samurai family between martial elitism and artistry.

A nuanced look at Maya mythology, from the literary record of the Popol Vuh to a broad range of artistic depictions by ancient Maya artists

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.

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 Encyclopedie of Diderot and d'Alembert.

Miniatures - canoes, houses and totems, and human figurines - have been produced on the Northwest Coast since at least the sixteenth century. What has motivated Indigenous artists to produce these tiny artworks? Through case studies and conversations with artists themselves, So Much More Than Art convincingly dismisses the persistent understanding that miniatures are simply children's toys or tourist trinkets. Jack Davy's highly original exploration of this intricate pursuit demonstrates the importance of miniaturization as a technique for communicating complex cultural ideas between generations and communities, as well as across the divide that separates Indigenous and settler societies.

Robin White: Something is happening Here is the first book to be devoted to Robin Whites art in 40 years. Its assessment of her remarkable 50 years as an artist includes fresh perspectives by 24 writers and interviewees from Australia, the Pacific and Aotearoa New Zealand and celebrates her status as one of our most important artists. Including more than 150 of her artworks, from early watercolour and drawings through to the exquisite recent collaborations with Pasifika artists, as well as photographs from throughout Robin Whites career, this book captures the life of a driven, bold, much-loved artist whose practice engages with the world and wrestles with its complexities.

Following on from the success of the exhibition Before Time Began, Fondation Opale is taking on a new challenge with a show that juxtaposes contemporary Aboriginal art with prominent examples of contemporary art created in a Western and Asian tradition. This beautifully illustrated catalogue includes more than eighty works by over 54 artists from two separate collections, both of which are outstanding in their own right: the collection of Aboriginal art belonging to Berengere Primat and the contemporary art collection amassed by Garance Primat. The works play off each other with powerful effect. Insightful pairings suggest an underlying unity, a merging of mankind, heaven, earth, and the whole cosmos. The Aboriginal artists represented include: Rover Thomas, Gulumbu Yunupingu, Clifford Possum Tjapaltjarri, Judy Watson, Sally Gabori, Emily Kame Kngwarrey, Paddy Bedford, Nonggirrnga Marawili, Ronnie Tjampitjinpa, and John Mawurndjul. The artists working in the Western and Oriental traditions include: Jean Dubuffet, Kiki Smith, Anselm Kiefer, Sol Lewitt, Yayoi Kusama, Giuseppe Penone, and Anish Kapoor. Published to accompany an exhibition at Fondation Opale, Lens - Crans Montana, 14 June 2020 - 4 April 4 2021.

Published through the Recovering Languages and Literacies of the Americas initiative, supported by the Andrew W. Mellon Foundation Victoria Howard was born around 1865, a little more than ten years after the founding of the Confederated Tribes of Grand Ronde in western Oregon. Howard's maternal grandmother, Wagayuhlen Quiaquaty, was a successful and valued Clackamas shaman at Grand Ronde, and her maternal grandfather, Quiaquaty, was an elite Molalla chief. In the summer of 1929 linguist Melville Jacobs, student of Franz Boas, requested to record Clackamas Chinook oral traditions with Howard, which she enthusiastically agreed to do. The result is an intricate and lively corpus of linguistic and ethnographic material, as well as rich performances of Clackamas literary heritage, as dictated by Howard and meticulously transcribed by Jacobs in his field notebooks. Ethnographical descriptions attest to the traditional lifestyle and environment in which Howard grew up, while fine details of cultural and historical events reveal the great consideration and devotion with which she recalled her past and that of her people. Catharine Mason has edited twenty-five of Howard's spoken-word performances into verse form entextualizations, along with the annotations provided by Jacobs in his publications of Howard's corpus in the late 1950s. Mason pairs performances with biographical, family, and historical content that reflects Howard's ancestry, personal and social life, education, and worldview. Mason's study reveals strong evidence of how the artist contemplated and internalized the complex meanings and everyday lessons of her literary heritage.

A River Apart presents multi-vocal perspectives on the pottery of Cochiti and Santo Domingo Pueblos, located along the central Rio Grande Valley in New Mexico. Separated by a great river, Cochiti and Santo Domingo Pueblos shared a ceramic tradition for centuries until increasing contact with outsiders ushered in tumultuous changes that set the pueblos on divergent paths. Cochiti Pueblo more freely modified its traditional forms of painted pottery to appeal to new markets while the Santo Domingo Pueblo shunned the influences of the tourist trade and art market, continuing an artistic trajectory that was conservative and insular. A River Apart brings together a distinguished a team of anthropologists, artists, and art historians from Native and non-Native perspectives to examine the pottery traditions of the two Pueblos and decipher what discoveries can be made and identities established through these representations of material culture. As the essays reveal, the pottery represents more than anthropology's artifacts and art for the marketplace. From the pottery we learn much about the pueblos' history, myths and legends, communities, and the artist's responses to influences from the outside world. This volume is a fascinating case study in how cultures develop; how art, culture and community are interwoven; and how art is created, interpreted, valued, bought and sold. This publication is companion to an exhibition to open at the Museum of Indian Arts and Culture (Museum of New Mexico) in Santa Fe in Fall 2008 and featuring over 200 Santo Domingo and Cochiti pots. A River Apart is a valuable addition to the libraries of those interested in Pueblo Indian pottery, Native American arts andculture, and southwestern history and anthropology.

This book takes a generational look at the fast-changing world of the woodcarvers of Oaxaca, Mexico. These artisans became famous in the 1980s for their colourful novelty figures, a contemporary folk art that Shephard Barbash and Vicki Ragan documented in the book Oaxacan Woodcarvers. Fourteen years later, beginning in 2004, Barbash and Ragan returned to Oaxaca and discovered many changes in the lives of the woodcarvers they had known. Barbash effectively presents their personal stories in narratives drawn from interviews accompanied by Ragan's arresting black-and-white photographs of the carvers and their lives today. A series of diptychs of the same people taken in 1989-90 and again fifteen years later are accompanied by extended essay-captions on the changing circumstances shaping their lives.Faced with a glut of carvings on the market, declining sales abroad, and an unsteady supply of tourists at home, a number of Oaxacan artisans put aside their craft to become mojados, or foreign workers, drawn by the economic opportunities north of the border. With eloquence and insight, the book puts a human face on bilateralism, a fancy term to denote divided souls. From the dusty villages of Oaxaca to the orchards of Oregon and the kitchens of Chicago, the carvers have joined millions of Mexicans who, unable to find good work or sustain their recent prosperity in their own country, have fled across the border: artisans and aliens. Changing Dreams is a moving story of change and survival, conveying the growing aspirations and changing dreams of a people struggling to catch up without leaving too much behind, whose creations we enjoy but whose lives we barely understand.

Two generations of Inuit artists challenging the parameters of tradition.Kenojuak Ashevak shot to fame in 1970 when Canada Post printed The Enchanted Owl,a print of a black-and-red plumed nocturnal bird, on a postage stamp. She later became known as the magic-marker-wielding "grandmother of Inuit art," famous for her fluid graphic storytelling and her stunning depictions of wildlife. She was a defining figure in Inuit art and one of the first Indigenous artists to be embraced as a contemporary Canadian artist.Ashevak's legacy inspired her nephew, Timootee (Tim) Pitsiulak, to take up drawing at the Kinngait Studios. In his relatively short career, he became a popular figure, known for drawing animal figures with a hunter's precision and capturing the technological presence of the South in Nunavut.Tunirrusiangit, "their gifts" or "what they gave" in Inuktitut, celebrates the achievements of two remarkable artists who challenged the parameters of tradition while consistently articulating a compelling vision of the Inuit world view. Published to coincide with a major exhibition at the Art Gallery of Ontario, opening on 16 June and continuing until late August, Tunirrusiangit features more than 60 reproductions of paintings, drawings, and documentary photographs. Completing the book are essays by contemporary artists and curators Jocelyn Piirainen, Anna Hudson, Georgiana Uhlyarik, Koomuatuk Curley, Laakkuluk Williamson Bathory, and Taqralik Partridge that address both the past and future of Inuit identity.