Few contemporary artists before the 1990s explored the negative impact of the Spanish in the Southwest, but unreflective celebrations of the Columbus Quincentennial brought about portrayals of a more complicated legacy of Columbus's arrival in the Americas--especially by Indigenous artists. Through a series of etchings, Floyd Solomon of Laguna and Zuni heritage undertook a visual recounting of Pueblo history using Indigenous knowledge positioned to reimagine a history that is known largely from non-Native records. While Solomon originally envisioned more than forty etchings, he ultimately completed just twenty. From nightmarish visions of the Spanish that preceded their arrival to the subsequent return of the Spanish and their continuing effects on the Pueblo people, Solomon provides a powerful visual record. These insightful, probing etchings are included in this important full-color volume showcasing Solomon's work and legacy. In Reimagining History from an Indigenous Perspective, Joyce M. Szabo positions Solomon among his contemporaries, making this vibrant artist and his remarkable vision broadly available to audiences both familiar with his work and those seeing it for the first time.

For anyone who wants their children to understand and love the art of Africa, Asia, Oceania and the Americas, this guide has questions and answers about thirty amazing objects. Anticipating how children will react to artifacts ranging from a Congolese mask or a Sioux warrior's tunic to a Javanese puppet or an Easter Island Moai, each section begins with very simple observations - 'This face doesn't look very African!' - and moves on to more complex questions such as 'What do the decorations on the forehead and temples represent?', 'Does white mean something special in Africa?'. Written in everyday language for people with no art expertise or teaching experience, the book includes maps, colour coding and thumbnail images to help you see where each featured work of art comes from. The explanations also include guidance on what's most appropriate for what age, from four to fourteen. There are invaluable tips for planning a visit to a museum and a thorough discussion of modern western perceptions of world art and the tricky terminology associated with the subject.

Indigenous museums and cultural centres have sprung up across the developing world, and particularly in the Southwest Pacific. They derive from a number of motives, ranging from the commercial to the cultural political (and many combine both). A close study of this phenomenon is not only valuable for museological practice but, as has been argued, it may challenge our current bedrock assumptions about the very nature and purpose of the museum. This book looks to the future of museum practice through examining how museums have evolved particularly in the non-western world to incorporate the present and the future in the display of culture. Of particular concern is the uses to which historic records are put in the service of community development and cultural renaissance.

Only 1000 copies of People of the Eland were printed in 1976. It was neither reissued nor reprinted. It has become one of the rarest and most expensive of all books on the African past. One of the things that most disturbed Patricia Vinnicombe while she was working at the Rock Art Research Institute at Wits in the early 2000s was that students could not access her book. As in many libraries, Wits University locks People of the Eland away in its rare and valuable book section. In 2002, Pat started to explore the possibility of republication. But, she did not feel that the book could be reissued without adding additional sections to explain how knowledge had expanded in the decades since the publication of the book. Tragically, Pat died in March 2003 before she could start work on the new sections. Peter Mitchell and Ben Smith have taken up this challenge and brought together the leading scholars in the field to write new sections to explain both how knowledge has changed since the publication of People of the Eland, and how current research is still influenced by this landmark volume. The Eland's People is thus intended as a companion volume to People of the Eland and it is hoped that this new volume will provide a richer appreciation of the importance of Pat's original work, as well as allowing readers an overview of current understandings of Drakensberg rock art.

The delightful arts of American Indian tribes in the Southwest are occasionally made in miniature by especially talented artists who dare to work in tiny scale. This book presents, for the first time, a wide array of these miniatures of al the major craft styles of the region. Shown through hundreds of all color photographs, the miniature arts are arranged in sections devoted to beadwork, rattles, sandpaintings, weavings, basketry, Kachinas, paintings, and pottery. The weavings section includes geometric and pictorial styles from each of the regional areas, while the basketry and pottery sections have all the major style areas represented. Wherever possible, the artists and their regions are identified. This collection of truly appealing tiny art works will be enjoyed for many years to come.

Roads, Mobility, and Violence in Indigenous Literature and Art from North America explores mobility, spatialized violence, and geographies of activism in a diverse archive of literary and visual art by Indigenous authors and artists. Building on Raymond Williams's observation that "traffic is not only a technique; it is a form of consciousness and a form of social relations," this book pulls into focus racial, sexual, and environmental violence localized around roads. Reading this archive of texts next to lived struggles over spatial justice, Rymhs argues that roads are spaces of complex signification. For many Indigenous communities, the road has not often been so open. Recent Indigenous writing and visual art explores this tension between mobility and confinement. Drawing primarily on the work of Marie Clements, Tomson Highway, Marilyn Dumont, Leanne Simpson, Richard Van Camp, Kent Monkman, and Louise Erdrich, this volume examines histories of uprooting and violence associated with roads. Along with exploring these fraught histories of mobility, this book emphasizes various ways in which Indigenous communities have transformed roads into sites of political resistance and social memory.

Delve into the origins and contemporary interpretations of various styles of non-figural Zuni jewelry designs, including nugget work, cluster work, petit point, needle point, snake eye, and channel work. This groundbreaking study establishes the identities of many Zuni artists from the 1940s, '50s, and '60s, and showcases their turquoise and coral pins, bracelets, bolo ties, and other ornaments. Featured are more than fifteen pieces each by masters, past and present, such as Doris and Warren Ondelacy, Alice and Duane Quam, Fannie Weebothee Ondelacy, Julie Ondelacy Lahi, Lee and Mary Weebothee, Alice Leekya Homer, and Ellen Quandelacy. More than three hundred vibrant color photos reveal subtle variations that indicate each master s distinctive style. Published here, for the first time, are cluster work bracelets by Leekya Deyuse, the single most famous jeweler in the Southwest, and Dan Simplicio s nugget work, along with ways to distinguish his from other artists works."

The artist-makers represented here come from every region of the United States, making this book a compilation of many native traditions as well as modern styles. Exciting background ideas are expressed in the details of these works, so their study and appreciation is quite fascinating. Over 50 living jewelry masters of Native American heritage are featured in this lavish new book. Their dynamic work includes many pieces that were awarded at recent juried shows. Tufa casting, stone cutting, engraving, metalsmithing, and other technical skills that are highly refined and personalized are evident, demonstrating the work of true Masters in this evolving field. See and be inspired by new designs in bead necklaces, silver bracelets, pendants, pins, earrings, belts, and rings, as well as sculpture that ranks as wearable art. Marvel at the new pieces by top masters living today.

Explore the life and art of legendary Navajo silversmith Fred Peshlakai, and see how his masterful art began and evolved. Beginning with the history of the Navajo people, it follows world events impacting the American Southwest and the Navajo culture precipitating in the development of their unique expressions of art rendered with silver and stone. Nineteenth-century evolution of the art form is reviewed, shining a particular light on certain ambiguities regarding important interrelationships between its most famous figures. Fred Peshlakai hailed from one of the most recognized artistic bloodlines of his noble people. This book is the beginning catalogue of his beautiful silver artwork with hundreds of images and their individual technical and artistic expressions discussed. No longer mythical, Fred Peshlakai is shown to be one of the most, if not the most, influential Navajo artisan to impact the creation of Navajo Silver Art and his art the world-class art treasures that they truly are.

Sometimes referred to as a Navajo folk art, these representations of recognizable objects occasionally have been designed into Navajo weavings at least since the middle of the nineteenth century. Unlike the geometric designs of more traditional Navajo rugs, these delightful pictorial images include scenes from everyday life, animals, landscapes, spelled-out words and designs of ceremonial significance. The pictorial weaving are shown through hundreds of color photographs with new as well as older examples. Here are familiar and imaginary animals, birds, people, religious designs and multiple weavings of fantastic detail. They convey, through dynamic color schemes and bold designs, images important to the Navajo weavers: the light and happy reflections of their scenic lands. The pictorial rugs are arranged chronologically within design groups to demonstrate the evolution of styles. Whenever known, the weavers are identified by name and region. It is their creativity that breathes life into these pictorial images and conveys the lively spirit of their lives.

What does rock art say about gender and how can our understanding of gender shape the way that we view rock art? A significant contribution to the relatively unexplored field of gender in rock art, this volume contains a wealth of information for archaeologists, anthropologists, and art historians interested in past gender systems. Hays-Gilpin argues that art is at once a product of its physical and social environment and at the same time a tool of influence in shaping behavior and ideas within a society. Taking this stance, rock art is shown to be very often one of the strongest lines of evidence avaliable to scholars in understanding ritual practices, gender roles, and ideologicial constructs of prehistoric peoples. Subsequently issues of representation and the people who made these forms of art are also discussed.

""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.""
--John Mack, Professor, University of East Anglia (UK)

"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.

A distinctly Indigenous form of landscape representation is emerging among contemporary Indigenous artists from North America. For centuries, landscape painting in European art typically used representational strategies such as single-point perspective to lure viewers-and settlers-into the territories of the old and new worlds. In the twentieth century, abstract expressionism transformed painting to encompass something beyond the visual world, and, later, minimalism and the Land Art movement broadened the genre of landscape art to include sculptural forms and site-specific installations. In Shifting Grounds, art historian Kate Morris argues that Indigenous artists are expanding and reconceptualizing the forms of the genre, expressing Indigenous attitudes toward land and belonging even as they draw upon mainstream art practices. The resulting works evoke all five senses: from the overt sensuality of Kay WalkingStick's tactile paintings to the eerie soundscapes of Alan Michelson's videos to the immersive environments of Kent Monkman's dioramas, this art resonates with a fully embodied and embedded subjectivity. Shifting Grounds explores themes of presence and absence, survival and vulnerability, memory and commemoration, and power and resistance, illuminating the artists' engagement not only with land and landscape but also with the history of representation itself.

The many 19th and 20th century American Indian collectibles showcased in this book especially embrace authentic weapons and weapon cases, horse gear, tools, stone pipes, and ceremonial items. Actual old trade goods, such as Hudson's Bay collectibles, trade beads, trade cloth, and trade blankets, are also featured. Contemporary replicas of traditional Indian art appear, including clothing, ornamented blankets, pouches and bags, parfleches, and more. Extensive text provides valuable information for collectors on identifying old and new artifacts, plus fascinating background on Indian "hobbyists" around the world. The range of items in each category is comprehensive, and detailed descriptions will be useful for both sellers and collectors. The values reflect actual auction estimates and results. The authors' companion volume, The New Four Winds Guide to American Indian Artifacts, has more Indian-made items of both old and new vintage.

Constructing African Art Histories for the Lagoons of Cote d'Ivoire is an investigation of the methods employed by art historians who study creative production in Africa. While providing insights into the rich visual arts of the Lagoon Peoples of southeastern Cote d'Ivoire, this study is one of the few attempts by an Africanist to situate local and regional artistic practices in the context of the global art market, and to trace the varied receptions an African art work is given as it leaves a local context and enters an international one. Drawing on her three seasons of fieldwork among Akan populations in Cote d'Ivoire, Monica Blackmun Visona provides a comprehensive account of a major art-producing region of Africa, and explores such topics as gender roles in performance, the role of sculpture in divination, and the interchange of arts and ideas across ethnic boundaries. The book also addresses issues inherent in research practices, such as connoisseurship and participant observation, and examines theoretical positions that have had an impact on the discipline of African art history.

Nearly 200 photographs chronicle the evolution of Hopi jewelry over the last four decades and illustrate, through the Kopavi collection, the innovative and often stunning creations of twelve well-known Hopi artists. Included are Victor Coochwytewa, Phillip Honanie, and Michael Kabotie, as well as Ricky Coochwytewa, Sidney Sekakuku, Sharold Nutumya, Watson Honanie, Bradley Gashwazra, Norman Honie Sr., John Coochyumptewa, Beauford Dawahoya, and Jason Takala Sr. The artists incorporate gold, platinum, diamonds, and rare turquoise into a tradition previously identified predominantly with silver, while expanding the range of designs to include narrative and ceremonial representations. Some of the iconography speaks to the merging of two cultures: ancient Hopi and contemporary commodity. These objects have a historical voice and represent a major change not only in jewelry styles, but in Hopi culture."

Inseparable from its communities, Northwest Coast art functions aesthetically and performatively beyond the scope of non-Indigenous scholarship, from demonstrating kinship connections to manifesting spiritual power. Contributors to this volume foreground Indigenous understandings in recognition of this rich context and its historical erasure within the discipline of art history. By centering voices that uphold Indigenous priorities, integrating the expertise of Indigenous knowledge holders about their artistic heritage, and questioning current institutional practices, these new essays "unsettle" Northwest Coast art studies. Key themes include discussions of cultural heritage protections and Native sovereignty; re-centering women and their critical role in transmitting cultural knowledge; reflecting on decolonization work in museums; and examining how artworks function as living documents. The volume exemplifies respectful and relational engagement with Indigenous art and advocates for more accountable scholarship and practices.

A wonderful array of authentic Indian-made items of both old and new vintage is showcased in this engaging book. Nearly 800 color photos present clothing and accessories for men and women, basketry, pottery, musical instruments, toys and games, textiles, beadwork, and Improved Order of Red Men collectibles. An informative bead glossary also describes bead styles, colors, and sizes. All items are accompanied by detailed descriptions, dates, construction information, and current pricing that will be used many times over by sellers and collectors alike. This essential and comprehensive reference belongs on every collector's bookshelf.

It is often assumed that the verbal and visual languages of Indigenous people had little influence upon the classification of scientific, legal, and artistic objects in the metropolises and museums of nineteenth-century colonial powers. However colonized locals did more than merely collect material for interested colonizers. In developing the concept of anachronism for the analysis of colonial material this book writes the complex biographies for five key objects that exemplify, embody, and refract the tensions of nineteenth-century history. Through an analysis of particular language notations and drawings hidden in colonial documents and a reexamination of cross-cultural communication, the book writes biographies for five objects that exemplify the tensions of nineteenth-century history. The author also draws on fieldwork done in communities today, such as the group of Koorie women whose re-enactments of tradition illustrate the first chapter's potted history of indigenous mediums and debates. The second case study explores British colonial history through the biography of the proclamation boards produced under George Arthur (1784-1854), Governor of British Honduras, Tasmania, British Columbia, and India. The third case study looks at the maps of the German explorer of indigenous taxonomy Wilhelm von Blandowski (1822-1878), and the fourth looks at a multi-authored encyclopaedia in which Blandowski had taken into account indigenous knowledge such as that in the work of Kwat-Kwat artist Yakaduna, whose hundreds of drawings (1862-1901) are the material basis for the fifth and final case study. Through these three characters' histories Art in the Time of Colony demonstrates the political importance of material culture by using objects to revisit the much-contested nineteenth-century colonial period, in which the colonial nations as a cultural and legal-political system were brought into being.

Joanna Grabski and Carol Magee bring together a compelling collection that shows how interviews can be used to generate new meaning and how connecting with artists and their work can transform artistic production into innovative critical insights and knowledge. The contributors to this volume include artists, museum curators, art historians, and anthropologists, who address artistic production in a variety of locations and media to question previous uses of interview and provoke alternative understandings of art.

Marit K. Munson explores ancient artwork with standard archaeological approaches to material culture, framed by theoretical insights of disciplines such as art history, visual studies, and psychology. She demonstrates how archaeological methods, combined with theoretical insights from other disciplines, open up new avenues for understanding of past peoples.

The early collections from Africa in Liverpool's World Museum reflect the city's longstanding shipping and commercial links with Africa's Atlantic coast. A principal component of these collections is an assemblage of several thousand artefacts from western Africa that were transported to institutions in northwest England between 1894 and 1916 by the Liverpool steam ship engineer Arnold Ridyard. While Ridyard's collecting efforts can be seen to have been shaped by the steamers' dynamic capacity to connect widely separated people and places, his Methodist credentials were fundamental in determining the profile of his African networks, because they meant that he was not part of official colonial authority in West Africa. Kingdon's study uncovers the identities of many of Ridyard's numerous West African collaborators and discusses their interests and predicaments under the colonial dispensation. Against this background account, their agendas are examined with reference to surviving narratives that accompanied their donations and within the context of broader processes of trans-imperial exchange, through which they forged new identities and statuses for themselves and attempted to counter expressions of British cultural imperialism in the region. The study concludes with a discussion of the competing meanings assigned to the Ridyard assemblage by the Liverpool Museum and examines the ways in which its re-contextualization in museum contexts helped to efface signs of the energies and narratives behind its creation.

In this highly original study, Vanessa Russ examines the gradual invention of Aboriginal art within the Art Gallery of New South Wales. This process occurred as the social histories of Australia expanded and recognised Aboriginal people, through wars and political shifts, and as international organisations began placing pressure on nation states to expand, diversify, and respect multicultural perspectives. This book explores a state art institution as a case study to consider these complex narratives through a single history of Aboriginal art from early colonisation until today. The book will be of interest to scholars working in art history, museum studies, and Indigenous studies.

This book aims to redefine Australia's earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term's use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.