Salish Blankets presents a new perspective on Salish weaving through technical and anthropological lenses. Worn as ceremonial robes, the blankets are complex objects said to preexist in the supernatural realm and made manifest in the natural world through ancestral guidance. The blankets are protective garments that at times of great life changes—birth, marriage, death—offer emotional strength and mental focus. A blanket can help establish the owner’s standing in the community and demonstrate a weaver’s technical expertise and artistic vision. The object, the maker, the wearer, and the community are bound and transformed through the creation and use of the blanket. Drawing on first-person accounts of Salish community members, object analysis, and earlier ethnographic sources, the authors offer a wide-ranging material culture study of Coast Salish lifeways. Salish Blankets explores the design, color/pigmentation, meaning, materials, and process of weaving and examines its historical and cultural contexts.  

Artists and filmmakers in the early twentieth century reshaped our vision of the American West. In particular, the Taos Society of Artists and the California-based artist Maynard Dixon departed from the legendary depiction of the ""Wild West"" and fostered new images, or brands, for western art. This volume, illustrated with more than 150 images, examines select paintings and films to demonstrate how these artists both enhanced and contradicted earlier representations of the West. Prior to this period, American art tended to portray the West as a wild frontier with untamed lands and peoples. Renowned artists such as Henry Farny and Frederic Remington set their work in the past, invoking an environment immersed in conflict and violence. This trademark perspective began to change, however, when artists enamored with the Southwest stamped a new imprint on their paintings. The contributors to this volume illuminate the complex ways in which early-twentieth-century artists, as well as filmmakers, evoked a southwestern environment not just suspended in time but also permanent rather than transient. Yet, as the authors also reveal, these artists were not entirely immune to the siren call of the vanishing West, and their portrayal of peaceful yet ""exotic"" Native Americans was an expansion rather than a dismissal of earlier tropes. Both brands cast a romantic spell on the West, and both have been seared into public consciousness. Branding the American West is published in association with the Brigham Young University Museum of Art, Provo, Utah, and the Stark Museum of Art, Orange, Texas.

Don Smith - or Lelooska, as he was usually called - was a prominent Native American artist and storyteller in the Pacific Northwest. Born in 1933 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, Lelooska emerged in the late 1950s as one of a handful of artists who proved crucial to the renaissance of Northwest Coast Indian art. He also developed into a supreme performer and educator, staging shows of dances, songs, and storytelling. During the peak years, from the 1970s to the early 1990s, the family shows with Lelooska as the centerpiece 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 ending shortly before the artist's death, in 1996. This is the story of a man who reached, quite literally, a million or more people in his lifetime and whose life was at once exceptional and emblematic.

Attracted to the rich ceremonial life and unique architecture of the New Mexico pueblos, many early-twentieth-century artists depicted Pueblo peoples, places, and culture in paintings. These artists' encounters with Pueblo Indians fostered their awareness of Native political struggles and led them to join with Pueblo communities to champion Indian rights. In this book, art historian Sascha T. Scott examines the ways in which non-Pueblo and Pueblo artists advocated for American Indian cultures by confronting some of the cultural, legal, and political issues of the day. Scott closely examines the work of five diverse artists, exploring how their art was shaped by and helped to shape Indian politics. She places the art within the context of the interwar period, 1915-30, a time when federal Indian policy shifted away from forced assimilation and toward preservation of Native cultures. Through careful analysis of paintings by Ernest L. Blumenschein, John Sloan, Marsden Hartley, and Awa Tsireh (Alfonso Roybal), Scott shows how their depictions of thriving Pueblo life and rituals promoted cultural preservation and challenged the pervasive romanticizing theme of the ""vanishing Indian."" Georgia O'Keeffe's images of Pueblo dances, which connect abstraction with lived experience, testify to the legacy of these political and aesthetic transformations. Scott makes use of anthropology, history, and indigenous studies in her art historical narrative. She is one of the first scholars to address varied responses to issues of cultural preservation by aesthetically and culturally diverse artists, including Pueblo painters. Beautifully designed, this book features nearly sixty artworks reproduced in full color.

The unique cultural landscape of southern Africa (Nambia, Zimbabwe, Botswana, Mozambique and South Africa) is a highly dynamic and complex area where old traditions are confronted by explosive social and political upheavals. The resulting contradictions and conflicts stimulate a directions as well as ancient roots. The collection of highly varied essays by knowledgeable experts on Africa ranges from historical and political problems to questions of artistic production and of how to deal with culture and nature in the face of industrialisation and globalisation. Art is one of the major subjects, and the contemporary artistic activities, including photography. The publication presents a picture of a vigorously alive southern Africa, contradicting common western Cliches which regard the region as having no art and solely being riddled with problems of post-apartheid, crime and AIDS.

Drawing inspiration from Standing Bear's legacy, Amiotte uses ephemera, historical and modern photographs and artworks, and the remembered stories of his relatives to compose collages that tell the story of a culture and people in transition. The vivid juxtaposition of materials allows viewers to experience the nuances and fluctuations in the Lakota people's environment, values, and way of life. Louis S. Warren relates the life of Standing Bear in a brief biography, and Janet Catherine Berlo contributes an essay placing Amiotte's collages in their artistic and anthropological contexts.

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.

This volume presents the latest research on Iberian post-Palaeolithic rock art, using innovative methodologies and analyses. With six appendices of data and extensive site gazetteers, the work is essential for those specialists and general readers needing an up-to-the-minute account of this archaeological phenomenon. 6 appendices of data and sites. Spanish text.

Between 1940 and 1960, many Native American artists made bold departures from what was considered the traditional style of Indian painting. They drew on European and other non-Native American aesthetic innovations to create hybrid works that complicated notions of identity, authenticity, and tradition. This richly illustrated volume focuses on the work of these pioneering Native artists, including Pueblo painters Jose Lente and Jimmy Byrnes, Ojibwe painters Patrick DesJarlait and George Morrison, Cheyenne painter Dick West, and Dakota painter Oscar Howe. Bill Anthes argues for recognizing the transformative work of these Native American artists as distinctly modern, and he explains how bringing Native American modernism to the foreground rewrites the broader canon of American modernism.In the mid-twentieth century, Native artists began to produce work that reflected the accelerating integration of Indian communities into the national mainstream as well as, in many instances, their own experiences beyond Indian reservations as soldiers or students. During this period, a dynamic exchange among Native and non-Native collectors, artists, and writers emerged. Anthes describes the roles of several anthropologists in promoting modern Native art, the treatment of Native American "Primitivism" in the writing of the Jewish American critic and painter Barnett Newman, and the painter Yeffe Kimball's brazen appropriation of a Native identity. While much attention has been paid to the inspiration Native American culture provided to non-Native modern artists, Anthes reveals a mutual cross-cultural exchange that enriched and transformed the art of both Natives and non-Natives.

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

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.

"This is a much needed, important collection-a goldmine of sources for scholars and students. The texts articulate the key Primitivist aesthetic discourses of the period, offering crucial insight into the complex and always changing nexus between culture, politics, and representation. Because of the breadth of the materials covered and the controversies they raise, this anthology is one of the all too rare volumes that not only will provide reference materials for years to come but also will feature centrally in classroom discussions."--Suzanne Preston Blier, author of "African Vodun: Art, Psychology, and Power

"For almost a century art historians have fretted about the notion of primitivism in the arts. This comprehensive-in both senses of the word-anthology is a peerless source of the history of responses to works categorized as 'primitive.' In its range, the book touches upon all the troubling questions-formal, anthropological, political, historical-that have bedeviled the study of the arts of Oceania, Africa, and North and South America, and provides the grounds, at last, for intelligent pursuit of keener distinctions. I regard this book as a superb contribution to the study of Modern art; in fact, indispensable."--Dore Ashton, author of "Noguchi East and West

"An extraordinarily useful and complete collection of primary documents, many translated for the first time into English, and almost all unlikely to be encountered elsewhere without serious effort. Its five sections, each with a lively and scholarly introduction, reveal the diverse views of artists and writers on primitive art from Matisse, Picasso, and Fry to many far less known and sometimes surprising figures. The bookalso uncovers the politics and aesthetics of the major museum exhibitions that gained acceptance for art that had been both reviled and mythologized. Recent texts included are all germane. This book will be invaluable for any college course on the topic."--Shelly Errington, author of "The Death of Authentic Primitive Art and Other Tales of Progress

"An exceptionally valuable anthology of seventy documents--most heretofore unavailable in English--on the ongoing controversies surrounding Primitivism and Modern art. Insightfully chosen and annotated, the collection is brilliantly introduced by Jack Flam's essay on the historical progression, contexts, and cultural complexities of more than one hundred years' ideas about Primitivism. Rich, timely, illuminating."--Herbert M. Cole, author of "Icons: Ideals and Power in the Art of Africa

The years between 1922 and 1961, often referred to as the "Dark Ages of Northwest Coast art," have largely been ignored by art historians, and dismissed as a period of artistic decline. Tales of Ghosts compellingly reclaims this era, arguing that it was instead a critical period during which the art played an important role in public discourses on the status of First Nations people in Canadian society. Those with an interest in First Nations and Canadian history and art history, anthropology, museology, and post-colonial studies will be delighted by the publication of this major contribution to their fields.

J. David Lewis-Williams is world renowned for his work on the rock art of Southern Africa. In this volume, Lewis-Williams describes the key steps in his evolving journey to understand these images painted on stone. He describes the development of technical methods of interpreting rock paintings of the 1970s, shows how a growing understanding of San mythology, cosmology, and ethnography helped decode the complex paintings, and traces the development of neuropsychological models for understanding the relationship between belief systems and rock art. The author then applies his theories to the famous rock paintings of prehistoric Western Europe in an attempt to develop a comprehensive theory of rock art. For students of rock art, archaeology, ethnography, comparative religion, and art history, Lewis-Williams' book will be a provocative read and an important reference.

What is so "primitive" about primitive art? And how do we dare to use our standards to judge it? Drawing on an intriguing mixture of sources-including fashion ads and films, her own anthropological research, and even comic strips like "Doonesbury"--Price explores the cultural arrogance implicit in Westerners' appropriation of non-Western art.
"[Price] presents a literary collage of the Western attitude to other cultures, and in particular to the visual art of the Third and Fourth Worlds. . . . Her book is not about works of 'primitive art' as such, but about the Western construction 'Primitive Art.' It is a critique of Western ignorance and arrogance: ignorance about other cultures and arrogance towards them."--Jeremy Coote, "Times Literary Supplement"
"The book is infuriating, entertaining, and inspirational, leaving one feeling less able than before to pass judgment on 'known' genres of art, but feeling more confident for that."--Joel Smith, "San Francisco Review of Books"
"[A] witty, but scholarly, indictment of the whole primitive-art business, from cargo to curator. And because she employs sarcasm as well as pedagogy, Price's book will probably forever deprive the reader of the warm fuzzies he usually gets standing before the display cases at the local ethnographic museum."--"Newsweek"

In the early 1880s, Black Hawk, a Dakota artist living on a Sioux reservation, drew 76 vivid images depicting complex scenes of ceremonial activity, personal visions, and historical events. His drawings--considered the most complete visual record extant of Lakota art of the early reservation period--are published here for the first time. 76 color, 20 b&w illustrations.

Between 1890 and 1918, British colonial expansion in Africa led to the removal of many African artifacts that were subsequently brought to Britain and displayed. Annie Coombes argues that this activity had profound repercussions for the construction of a national identity within Britain itself-the effects of which are still with us today. Through a series of detailed case studies, Coombes analyzes the popular and scientific knowledge of Africa which shaped a diverse public's perception of that continent: the looting and display of the Benin "bronzes" from Nigeria; ethnographic museums; the mass spectacle of large-scale international and missionary exhibitions and colonial exhibitions such as the "Stanley and African" of 1890; together with the critical reaction to such events in British national newspapers, the radical and humanitarian press and the West African press. Coombes argues that although endlessly reiterated racial stereotypes were disseminated through popular images of all things "African," this was no simple reproduction of imperial ideology. There were a number of different and sometimes conflicting representations of Africa and of what it was to be African-representations that varied according to political, institutional, and disciplinary pressures. The professionalization of anthropology over this period played a crucial role in the popularization of contradictory ideas about African culture to a mass public. Pioneering in its research, this book offers valuable insights for art and design historians, historians of imperialism and anthropology, anthropologists, and museologists.

Baskets made by the people of the mid-Columbia River are among the finest examples of Indian textile art in North America, and they are included in the collections of most major museums. The traditional designs and techniques of construction reveal a great artistic heritage that links modern basketmakers to their ancestors. Yet baskets are also everyday objects of a utilitarian nature that reveal much about mid-Columbia culture---a flat twined bag has greatest value when it is plump with dried roots, a coiled basket when full of huckleberries. In Columbia River Basketry, Mary Schlick writes about the weavers who at the time of European contact lived along the Columbia River from just above its confluence with the Yakima River westward to the vicinity of present-day Portland, Oregon, and Indian groups living along the river. She presents the baskets in the context of the lives of the people who created and used them. She also writes about the descendants of the early basket weavers, to whom basketry skills have been passed and from whom she herself learned to make baskets. Schlick blends mythology, personal reminiscences, materials, and basketry techniques. Written with deep understanding and appreciation of the artists and their work, Columbia River Basketry will be an inspirational sourcebook for basket weavers and other craftspeople. It will also serve as an invaluable reference for scholars, curators, and collectors in identifying, dating, and interpreting examples of Columbia River basketry.

This is a brief analysis of Indian Pottery, based on a museum exhibit prepared by the author.

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In this thought-provoking book, preeminent scholar Stephen Houston turns his attention to the crucial role of young males in Classic Maya society, drawing on evidence from art, writing, and material culture. The Gifted Passage establishes that adolescent men in Maya art were the subjects and makers of hieroglyphics, painted ceramics, and murals, in works that helped to shape and reflect masculinity in Maya civilization. The political volatility of the Classic Maya period gave male adolescents valuable status as potential heirs, and many of the most precious surviving ceramics likely celebrated their coming-of-age rituals. The ardent hope was that youths would grow into effective kings and noblemen, capable of leadership in battle and service in royal courts. Aiming to shift mainstream conceptions of the Maya, Houston argues that adolescent men were not simply present in images and texts, but central to both.

This wide-ranging survey, now established as the best single-volume introduction to Andean art and architecture on the market today, describes the strikingly varied artistic achievements of the Chavin, Paracas, Moche, Nasca, Chimu and Inca cultures, among others. For this fully revised third edition, Rebecca Stone has rewritten and expanded the text throughout, touching on many of the recent discoveries and advances in the field. These include new work on the huge stone pyramids and other structures at Caral; continued excavations of Inca child sacrifices perched on mountaintops throughout the empire, with their perfectly preserved clothing and miniature offerings of metal, ceramics and shell; spectacular murals and the remarkable burial of a tattooed female warrior-leader at the Moche site of Huaca Cao Viejo; and many new finds of high-status textiles, along with fresh analyses of weaving technology and new interpretations of designs and motifs.

"A significant contribution to the literature on Mesoamerican and material culture studies since it treats the iconography, archaeology, and social life of figurines. The volume focuses on a very intriguing and little-studied art form, and it is refreshing for its focus on small or non-monumental art that is found in elite and non-elite contexts."--Joel Palka, University of Illinois, Chicago "This overview of the state of art in the study of Mesoamerican figurines of all time periods is packed with new data and lively interpretation."--Richard Lesure, University of California, Los Angeles Although figurines are among the most abundant class of artifacts known in the vast Mesoamerican culture, this is the premier single volume to examine these figurines from the Olmec to the Aztec civilizations. These small, often ceramic objects are commonly found at many archaeological sites. They appear in the shape of humans, supernatural beings, animals, and buildings. Mesoamerican Figurines brings together many seasoned and respected scholars of art history, archaeology, ethnohistory, anthropology, and social theory to analyze these objects by their stylistic attributes, archaeological content, function, and meaning. Because of their variety and number, figurines represent a rich dataset from which ancient Mesoamerican identity and practices can be ascertained, including human body symbolism, materiality, memory and human agency, trade and interaction, and religion. Christina T. Halperin is a visiting assistant professor in anthropology at the University of Illinois, Urbana-Champaign. Katherine A. Faust is a doctoral candidate in anthropology at the University of California, Riverside. Rhonda Taube is a doctoral candidate in visual arts at the University of California, San Diego. Aurore Giguet is division director of the Marjorie Barrick Museum at the University of Nevada, Las Vegas.