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Twenty-five years after Captain Cook, the London Missionary Society sent its first representatives to the South Seas. Their goal was to eradicate heathenism and idolatry, but unwittingly, they became agents for the preservation of Polynesian culture through their diligent recording of language and religious practices. They even preserved a number of religious artifacts, which they sent back to England for exhibition in the Mission Museum in London.
"Food for the Flames" focuses on these artifacts, the idols that avoided the flames. With the scientist's belief in letting the evidence speak for itself, the author, a biochemist, has mined a wide range of primary sources to bring together a wealth of new information on a generally unpopular subject, the missionary endeavour. Missionary subjects, Polynesian 'temples', and numerous idols are illustrated in color. The majority of this material is published here for the first time.
The first book devoted to the art of the vast South Seas island groups in the Bismarck Archipelago. This book features stunning, ephemeral creations made with natural materials such as plant fibre, light woods, bark cloth, and tree pith - among the most colourful of the Pacific Island arts. An inspiration to the German Expressionists and the Surrealists, these pieces combine colour, fragility, and a sense of temporal purpose. Essays explore the art history of the region and set the beautifully photographed works in cultural context.
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.
Seeing the Inside is the first detailed study of one of the world's
great visual art traditions and its role in the society that
produces it. The bark painting of Aboriginal artists in western
Arnhem Land is the product of a unique tradition of many thousands
of years' duration. In recent years it has attracted enormous
interest in the rest of Australia and beyond, with the result that
the artists, who live primarily as hunters in this relatively
secluded region of northern Australia, now paint for sale to the
world art market.
In this work, Blocker extends the philosophy of art to traditional African, Pre-Columbian Meso-American, and other works of "primitive art." Contents: Is Primitive Art Primitive? Is Primitive Art Art? Aesthetic Consciousness in Primitive Art; Critical Assessment of Primitive Art.
River-cane baskets woven by the Chitimachas of south Louisiana are universally admired for their beauty and workmanship. Recounting friendships that Chitimacha weaver Christine Paul (1874-1946) sustained with two non-Native women at different parts of her life, this book offers a rare vantage point into the lives of American Indians in the segregated South. Mary Bradford (1869-1954) and Caroline Dormon (1888-1971) were not only friends of Christine Paul; they were also patrons who helped connect Paul and other Chitimacha weavers with buyers for their work. Daniel H. Usner uses Paul's letters to Bradford and Dormon to reveal how Indian women, as mediators between their own communities and surrounding outsiders, often drew on accumulated authority and experience in multicultural negotiation to forge new relationships with non-Indian women. Bradford's initial interest in Paul was philanthropic, while Dormon's was anthropological. Both certainly admired the artistry of Chitimacha baskets. For her part, Paul saw in Bradford and Dormon opportunities to promote her basketry tradition and expand a network of outsiders sympathetic to her tribe's vulnerability on many fronts. As Usner explores these friendships, he touches on a range of factors that may have shaped them, including class differences, racial attitudes, and shared ideals of womanhood. The result is an engaging story of American Indian livelihood, identity, and self-determination.
This classic study of the ancient Maya reveals a culture as rich as the ancient civilizations of Europe, the Middle East, and the Orient.
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.
Representations of first contact - the first meetings of European explorers and Native Americans - have always had a central place in our nation's historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths - and how those myths acquired different meanings at different points in our nation's history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies - paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell - Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. And yet, others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.
The nation's premier private collection of Rookwood art pottery
featuring American Indian portraiture is on display at the
Cincinnati Art Museum from October 2007 to January 2008. "Rookwood
and the American Indian: Masterpieces of American Art Pottery from
the James J. Gardner Collection" is a remarkable exhibition
catalogue that will be of interest well beyond the exhibition
because of its unique subject matter. Fifty-two pieces produced by
the Rookwood Pottery Company are showcased, many accompanied by
black-and-white photographs of the American Indians portrayed by
the ceramic artist. In addition, the catalogue includes a brief
biography of each artist as well as curators' comments about the
Rookwood pottery and the Indian apparel seen in the portraits.
This is a study into the origin and inspiration for Celtic art. It includes examples of Celtic art from all over Europe, and concentrates mainly on the La Tene period.
Iconographers normally use texts, either to locate the narratives that are illustrated in the images they are studying, or to deepen their understanding of the cultural milieux in which those images were produced. There are indeed some iconographers who would argue that, without texts, iconography is impossible. Are we then unable to study the iconographic themes of cultures that have left us few or no textual records? Some of the contributors to this volume have responded directly to this question, while others have expanded the terms of debate; but all the essays in this book will be found pertinent by art historians, archaeologists and anthropologists who are faced with the problem of interpreting visual artefacts that have become divorced from the cultural contexts in which they once had meaning.
The totem poles and painted housefronts, masks and dance regalia, feast bowls and elaborately decorated boxes made by the Native people of the Pacific Northwest have long been recognized as masterworks of art, sophisticated in conception and execution and rich with symbolism. In this book, scholars Peter Macnair and Jay Stewart describe the treasures of the Northwest Coast collections of the National Museum of the American Indian, many of which have never been published before. In addition, Kwakwaka'wakw Chief Robert Joseph and curator Mary Jane Lenz explore the Northwest as a crossroads of Native and non-Native worlds, in the 19th and early 20th century, when many of these works were collected, and today.
Most significantly, in a series of community self-portraits, cultural figures from eleven Northwest Coast nations discuss the ways in which the museum's collections connect them with their forebears, who made and used these beautiful things. Illustrated with striking new images of important pieces, as well as other historic and contemporary photographs, Listening to the Ancestors invites readers to appreciate Northwest Coast art as its Native inheritors do-for the spirit with which it is endowed.
This book is being published in conjunction with the exhibition of the same title, on view at the National Museum of the American Indian in Washington, D.C., from November 2005 to January 2007. In keeping with NMAI's mission to bridge the distance between the museum and the people whose cultures it represents, objects from the exhibition will also be shown in the Native communities that took part in this project.
This tour-de-force photographic voyage takes readers into the living world of the Maya, where color is not merely a matter of preference but a powerful statement of belief. Through dazzling photos, vivid travel tales, and the Maya's own poetic voices, readers will come to know the modern Maya as remarkable survivors who continue to sow their deified corn, commune with their gods, and paint life into their color-drenched village walls. 150 color illustrations.
This Tiny Folio volume provides an impressive overview of the most significant collection of art by Native Americans anywhere in the world. Established by an act of Congress in 1989, the Smithsonian's National Museum of the American Indian (NMAI) is dedicated to the preservation, study, and exhibition of the life, languages, literature, history, and the arts of Native Americans. The museum's collections span more than 10,000 years and-as this lavishly illustrated miniature volume demonstrates-include a multitude of fascinating objects, from ancient clay figurines to contemporary Indian paintings, from all over the Americas.
An art, history, and reference book showcasing more than eleven hundred pots. There isn't a more complete Southwestern pottery guide.
This user-friendly, jargon-free guide describes more than a hundred mostly public, easy-access rock art sites in Arizona, southern California, Colorado, New Mexico, Nevada, Utah, and western Texas, with a special section on Baja California, Mexico. _Rock Art Savvy_ includes all the information visitors need for enjoying the selected sites. Part 1 is devoted to general information about rock art and the people who created it. Part 2 provides state-by-state listings, including directions to, descriptions of, and contact information for each site. One hundred black-and-white photos and eight color plates enhance the text, and a comprehensive glossary explains many less-familiar terms. Curious travelers, amateur archaeologists, students of indigenous American cultures, and rock art enthusiasts of every level will find wisdom and delight in this smart, practical book.
The handmade ceramics of the Paul Revere Pottery, often enlivened with stylized images of animals, flowers or abstract patterns, are best known today by the name of the girls' club whose members created the wares: the Saturday Evening Girls (SEG). Local reformers organized this club in 1899 to provide cultural activities for young Italian and Jewish immigrant girls of Boston's North End. Under the guidance of designer and illustrator Edith Brown, and as a way of helping with difficult family finances, the group soon turned to crafts. Before long, SEG ceramics had caught on, and were being sold through department stores in cities throughout the Eastern United States; though their success was largely curtailed by World War I, the pottery continued to operate until 1942. Today, SEG ware is highly collectible. Art and Reform offers a briskly written, handsomely illustrated introduction to this episode in Boston's cultural history, discussing the role of the SEG club in the life of the city's immigrant community and its ties to education reform and the Arts and Crafts movement. The book presents some 50 examples of the ceramics themselves, mostly by Sara Galner, one of the group's most gifted members, showing the wit, charm, quiet beauty and lasting influence of these remarkable decorative objects.
The collection of Native American artworks is one of the hidden treasures of the Museum of Fine Arts, Boston, with some of its finest objects seldom displayed to ensure their preservation. This volume presents 100 of these little-known works, many reproduced for the first time. Although some objects were made for Native use, many reflect the interaction of Native Americans with other cultures, and demonstrate a mastery of new materials and techniques in weaving, silversmithing, beadwork and other crafts. An introductory essay traces the history of Native American art at the MFA since the late nineteenth century, which mirrors cultural shifts in attitude toward these objects in the United States as a whole. Covering a diversity of objects from across the North American continent-from the eastern and southern Woodlands to the Northwest Pacific Coast, with a particular emphasis on the Southwest-this latest volume in the "MFA Highlights" series demonstrates the vast richness of American Indian art.
This is the first booklet in the Ukhahlamba series to cover the human story. The art of the Drakensberg has played a prominent part in our development of a better understanding of the stone age art of southern Africa. This title offers answers to the puzzling questions that people ask when looking at Bushman paintings. What do they mean? Why were they painted? It will make looking at rock art a more interesting, comprehensible and exciting experience.
In this newly revised edition of ALASKA'S TOTEM POLES, readers learn about the history and use of totems, clan crests, symbolism, and much more. A special section describes where to go to view totems. Foreword writer David A. Boxley offers the unique perspective of a Native Alaskan carver who has been a leader in the renaissance of totem carving.
Discover the ancient images in ancient landscapes through this guide. Learn how the designs were created and what is known about the people who made them. A directory to 28 outstanding sites in 7 states. Includes an information guide to southwestern research centers, websites, and national and international rock-art organizations.
Te Papa Tongarewa holds some of New Zealand's richest collections - taonga prized by many iwi, art from Europe and New Zealand, items of great historical significance, treasures from the Pacific, and an extraordinary representation of the natural world. Thousands of objects have been placed in this museum over time, and documented by some of New Zealand's leading scholars Some 300 items from this fabulous collection are presented in Icons/Nga Taonga. Ranging from McCahon's painting to the Britten motorcycle, from a mere pounamu to the engravings of Banks and Solander, from Ani O'Neill's 'Rainbow Country' to an embroidered sampler of 1853, this is a diverse and sometimes challenging selection. These objects are all central to New Zealand experience, but they reflect the disparate nature of that experience. This is a book in which 'icons' ask questions as much as they establish identities. It is a powerful visual statement of Te Papa's cultural vision, which looks for narrative links across collections and subjects, time and place. Biculturalism shapes all aspects of the book; appropriate sections are written in te reo as well as English. Superb contemporary design and full-colour printing throughout make this book in itself a beautiful object. Authoritative and accessible captions will accompany the images, and short essays introduce each section. Published in time for the February 2004 International Festival of the Arts, Icons/Nga Taonga will be a landmark in the New Zealand calendar - literary, intellectual, artistic, and popular.
Hans Himmelheber describes the cultural and artistic heritage of
the Yup'ik in southwestern Alaska during the late 1930s. His work
is remarkable because he emphasized drawing, carving, and painting
as part of a narrative process instead of focusing on Yup'ik art as
artifacts. "Eskimo Artists" is rich in examples attributed to named
orators, and interpretation is kept to a minimum. Himmelheber
includes family histories, daily and ceremonial activities of the
men and women he met, and their opinions about artistic
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