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This study analyses almost 300 known prehistoric rock art sites dating from c.2500 BC set within their environmental context. Susan Searight discusses the themes and motifs represented, comprising anthropomorphs, human hands and feet, weapons, agricultural tools, chariots and geometric forms, and their distribution. Through a series of case studies, Seabright suggests that the preference for certain motifs in certain areas may reflect their different function, for example, as a means of communication among nomadic pastoralists, as a means of defining territories, denoting ownership, or as commemorative markers. The results of her study of the rock art are put in a Moroccan and North African context.
These nineteen papers form the proceedings of Section 8 of the Acts of the XIVth UISPP Congress held at the University of Liege in 2001. They focus on the iconography, symbolism and ideology of Rupestrian art from the Upper Palaeolithic and Mesolithic perids. Supported throughout by illustrated examples, the papers discuss: the anthropological information revealed by Rupestrian art; the purpose and vocabulary of cave art; the themes and mythology; comparisons with the art of Native Americans. The volume includes case studies which cover evidence from Spain, Siberia, the Alps, the Dordogne, Lake Onega in Russia, Denmark, Norway and central Europe. Ten papers in English, the remainder 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!
This rich selection of 245 black-and-white designs has been carefully rendered from authentic folk art of New Zealand, the Solomon Islands, New Guinea, the Hawaiian Islands, and Australia -- among other locales. Easy-to-use images include geometric patterns, masks, wood carvings, images of the mysterious giant statuary of Easter Island, Australian rock paintings, tapestries, pottery, temple art, musical instruments, and much more.
Designing symbolic meaning into ornamentation is a long-standing Western artistic tradition, a practice deeply rooted in classical Greek and Roman art. The author directly addresses the question of why particular ornamental patterns of known symbolic significance were chosen by eighteenth century English gunmakers for Native American trade guns. The dynamic, multi-level allegorical symbolism is nothing less than astonishing. The origin of Native Americans as noble savages and as symbols of liberty are argued to be ideas firmly rooted in European classical mythology. Closely related is the development of national symbols of liberty within the American Revolution. A single overarching European allegorical framework is shown to provide a common symbolism of English trade guns, early images of American Indians, and the identity of the early American republic. Ornamentation of firearms gifted and traded to American Indians documents the use of these symbols. By drawing upon deep mythologies of Europe, English gun designers also inadvertently incorporated artwork having deep spiritual significance to many American Indians, helping to account for the long uninterrupted use of the ornamentations.
Don Smith or Lelooska (1933-1996) was well known in the Pacific Northwest as a Native American artist and storyteller. Of "mixed blood" Cherokee heritage, he was adopted as an adult by the prestigious Kwakiutl Sewid clan and had relationships with elders from a wide range of tribal backgrounds. Initially producing curio items for sale to tourists and regalia for Oregon Indians, he emerged in the late 1950s as one of a handful of artists who proved critical in the renaissance of Northwest Coast Indian art. He also developed into a supreme performer and educator, staging shows of dances, songs, and storytelling. During his peak years from the 1970s to the early 1990s, his shows attracted as many as 30,000 people annually. In this book, historian and family friend Chris Friday shares and annotates interviews that he conducted with Lelooska between 1993 and 1996. In the process, he develops a portrait that is large enough to embrace the contradictory elements of Lelooska's life. What, he asks, is Native identity? What is "authenticity" in art? How are we to understand the concept of pan-Indianism? What are the politics of Indian tribal adoption? By engaging these questions and the contradictions that produce them, Friday honors Lelooska's complexity and constructs Lelooska's life as a prism for viewing the shifting and historically indeterminate nature of twentieth-century Indian identities.
" 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.
Shortlisted for the Katharine Briggs Folkore Award 2003
Shortlisted for the Katharine Briggs Folkore Award 2003Malanggan are among the most treasured possessions in the Pacific, yet they continue to confound anthropologists. Central to funerals in New Ireland, these 'death' figures are intended to decompose as symbolic representations of the dead. Wrapped in images that are conceived of as 'skins', they are both visually complex and intriguing. This book is the first to interpret these mysterious agents of resemblance and connection as having a cognitive rather than a linguistic basis.Found in nearly every ethnographic museum in the world, Malanggan collections have been left virtually untouched. This original study begins by tracing the history of the collections and moves on to consider the role these artefacts play in sacrifice, ritual and exchange. What is the relationship between Malanggan and memory? How can Malanggan be understood as a life force as well as a vehicle for thought? In an analysis of the cognitive aspects of Malanggan, Kuchler offers a highly original conceptualization of the centrality of the knot as a mode of being, thinking and binding in the Pacific."Malanggan: Art, Memory and Sacrifice "is a groundbreaking study. Based on fifteen years of fieldwork and collection research, it provides an incisive new take on one of the Pacific's classic puzzles, as well as a wealth of new information and resources for anthropologists, collectors and curators alike.
"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
The anthropology of art is currently at a crossroads. Although well
versed in the meaning of art in small-scale tribal societies,
anthropologists are still wrestling with the question of how to
interpret art in a complex, post-colonial environment. Alfred Gell
recently confronted this problem in his posthumous book Art and
Agency. The central thesis of his study was that art objects could
be seen, not as bearers of meaning or aesthetic value, but as forms
mediating social action. At a stroke, Gell provocatively dismissed
many longstanding but tired questions of definition and issues of
aesthetic value. His book proposed a novel perspective on the roles
of art in political practice and made fresh links between analyses
of style, tradition and society.
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.
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.
"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?"
Whether painted by artist-warriors depicting their feats in battle or by other Native American artists, 19th and 20th century ledger drawings--drawn on blank sheets of ledger books obtained from U.S. soldiers, traders, missionaries, and reservation employees--provide an excellent visual source of information on the Great Plains Native Americans. An art form representing a transition from drawing on buffalo hide to a paper medium, ledger drawings range in style, content, and quality from primitive and artistically poor to bold and sharp with lavish use of color. Although interest in ledger drawings has increased in the last 20 years, there has never been a guide to holdings of these drawings. By bringing together the diverse and scattered institutions that hold them, this book will make finding the drawings quicker and easier. Illustrated with examples of ledger drawings, the guide identifies the libraries, archives, historical societies, and museums that hold ledger drawings. The institutions listed range from those with large collections, such as the Smithsonian, Yale, and Oklahoma museums, to institutions with only a few drawings. The book also includes a bibliography of books and articles about Indian pictographic art. The index will enable researchers to locate art by individual artists and tribes.
The author of this study, Z.S. Strother, spent nearly three years in Zaire studying Pende sculpture. Her research reveals the rich history and lively contemporary practice of Central Pende masquerade. She describes the intensive collaboration among sculptors and dancers that is crucial to inventing masks. Sculptors revealed that a central theme in their work is the representation of perceived differences between men and women. Far from being unchanging, Pende masquerades promote unceasing innovation within genres and invention of new genres. This book sets out to demonstrate, through first-hand accounts and many illustrations, how Central Pende masquerading is a contemporary art form fully responsive to 20th-century experience.
Easy-to-follow diagrams and simple instructions enable even beginners to create a host of striking Native American designs. Color-coded patterns for buffalo, kachinas, eagles and more will add delightful ornamental touches to T-shirts, vests and blouses, lend distinctive touches to handbags, headbands, and belts, and enhance cushion covers, table linens, and other household accessories. An inexpensive do-it-yourself book for successfully completing dozens of beautiful projects for yourself, family and friends.
Essays on recent developments and recent discoveries in Rock Art research around the world, based on the proceedings of the 1995 Rock Art conference held in Italy. This is the third in the five-yearly surveys of what is happening in rock art studies around the world, which builds upon the exciting contributions made in the first two volumes of this series. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa and the New Wrld. During the period in question, 2000 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the accesible to the public is a theme of ever-growing importance, with some significant and interesting research undertaken on the impacts of visitors and how to measure and monitor those impacts. The research described in this book contributes to our ever increasing knowledge of this fascinating component of the human past.
An art, history, and reference book showcasing more than eleven hundred pots. There isn't a more complete Southwestern pottery guide.
Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses ""decolonial aesthetics,"" a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America-- time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of ""antipoetry,"" unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva cancion by musicians including Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.
With the growth in interest in ethnographic materials, this is an essential publication for large public libraries serving patrons with interests in anthropology and art. Choice This indispensable directory of data on serials that contain information relevant to the study of ethnoart fills a gap long perceived by scholars of the indigenous arts of Africa, Oceania, and the Americas, an area of academic focus in which reference materials have been generally lacking. Culled from a database developed by compiler Eugene C. Burt to track potentially useful periodicals in connection with his publication, Ethnoarts Index, the volume is designed to aid those with an interest in ethnoart in determining which serial publications best suit their research needs. In the main directory users can find information on former titles, publisher, editorial focus, content features, and a relevancy rating on each of almost 700 individual serial titles that have an editorial focus related to ethnoart. Nine separate appendices list recommended titles in various categories as well as serials that include indexing, bibliographic or abstracting services, ceased titles, and more. Titles include publications from the fields of art history, anthropology, history, area studies, librarianship, museum studies, and general interest magazines. Prefatory material explains the book's organization and the rationale for its recommendations and is followed by the major portion of the volume, the database of serials arranged alphabetically by title. In each entry more than 20 categories of information are provided including an assigned relevancy rating that rates the level of relevancy of a publication to ethnoart based on the frequency that ethnoart-oriented articles, reviews, etc. appear. Several indices make collection development recommendations based on the relevancy ratings, with approximate cost information. Additional appendices list titles by country of publication, relevant ceased titles, and more. Finally, a unique, rotated-keyword-in-title index that includes subtitles and former titles provides easy access to the main database. All of this information will be welcomed by librarians, scholars, collectors, dealers, curators, and students of ethnoart. Highly recommended for librarians building ethnoart collections; for university libraries where courses on any aspect of ethnoart are taught; and for libraries of museums and research institutions with an interest in ethnoart.
In recent years, Native American basketry has aroused the interest and admiration of individuals, from the scholar to the collector. It is a complex subject and offers an opportunity to study through time the various changes which transpired in its function, form and manufacture. Native American Basketry: A Living Legacy, by Frank W. Porter III, is the first major study of the subject since 1904, and presents a collection of essays written by those intimately familiar with the basket makers and basketry of North America. Illustrated with approximately 80 black-and-white photographs--many of which are historical records of basket makers and their baskets--Native American Basketry uses archaeological, ethnographic, historical and contemporary information in discussing the changes in native basketry from prehistoric times to the present. In spite of the wide range of habitats, as well as the social and cultural diversity of the basket-making tribes, it is surprising to discover the similar ways the basket makers adapted basketry after prolonged contact with nonIndian peoples. The book is especially well-suited not only for the scholar of American Indian art history, but cultural history as well.
This is a brief analysis of Indian Pottery, based on a museum exhibit prepared by the author.
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 the Spirit of the Ancestors celebrates the vitality of contemporary Pacific Northwest Coast art by showcasing a selection of objects from the Burke Museum's collection of more than 2,400 late-twentieth- and early-twenty-first-century Native American works. Essays focus on contemporary art while exploring the important historical precedents on which so many artists rely for training and inspiration. Margaret Blackman reflects on building one of the largest collections of Northwest Coast serigraphs, and Joe David reminisces about his artistic journey through mask-making. Shaun Peterson, Lisa Telford, and Evelyn Vanderhoop discuss the historical precedents for working in styles that were kept alive only by a few critical artists and are now making a comeback. Robin K. Wright explores the history of box drums and their revival. Emily Moore discusses the repatriation of two stolen house posts and proposes a new concept of "propatriation" to describe the resulting commissioning of contemporary posts to take their place. Kathryn Bunn-Marcuse explores the power of adornment and how clothing, jewelry, and personal adornments like tattooing express tribal and personal identity in ways both connected to the past and grounded in the present. The diversity of approaches presented by these contributors speaks to artists, collectors, academics, tribal communities, and all those interested in Pacific Northwest Coast art. Splendid color photographs of works never before published will delight everyone. Watch the trailer: http://www.youtube.com/watch?v=E15hbqvHo4w&list=UUge4MONgLFncQ1w1C_BnHcw&index=7&feature=plcp
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