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Dynasty and Divinity presents a major part of the extraordinary corpus of ancient Ife art in terra-cotta, stone, and metal, dating from the ninth to the fifteenth centuries. Artists at Ife, the ancient city-state of the Yoruba people of West Africa (located in present-day southwestern Nigeria), created sculpture that ranks among the most aesthetically striking and technically sophisticated in the world. Dynasty and Divinity reveals the extraordinarily creative range of Ife art through a diversity of objects that includes handsome idealized portrait heads, exquisite miniatures, expressive caricatures of old age, lively animals, and sculptures showing the impressive regalia worn by Ife's kings and queens. Together, these illuminate one of the world's greatest art centers and demonstrate the technological sophistication of Ife artists, as well as the rich aesthetic language they developed in order to convey ideas about worldly and divine power.--The refined sculptures from Ife demonstrate the dignity and self-assurance associated with the idea of dynasty, as well as the results of misfortunes and violence that could befall human beings -- both fates shaped by divine as well as human interventions. Among the many masterpieces from Ife art in this book are a group of life-size copper portrait heads, carved stone animals, and the spectacular seated male figure found in the town of Tada, Nigeria, shown dressed in an elaborate textile. Essays explore the significance of Ife's stone, terra-cotta, and metal sculptures in the context of Yoruba history and culture and consider the significance of this portrayal of an ancient African city. Today, the city of Ife is still a spiritual heartland for the 29 million Yoruba people living in Nigeria and countless descendants in the Americas and elsewhere in the world. --Dynasty and Divinity accompanies an exhibition co-organized by the Museum for African Art, New York City, and the Fundacion Marcelino Botin, Santander, Spain, in collaboration with the National Commission for Museums and Monuments, Nigeria. The exhibition will appear at the British Museum, London, as Kingdom of Ife: Sculptures of West Africa. --Henry John Drewal is Evjue-Bascom Professor of Art History and Afro-American Studies at the University of Wisconsin-Madison and adjunct curator of African art at the University's Chazen Museum of Art. --Enid Schildkrout is chief curator and director of exhibitions and publications at the Museum for African Art and curator emeritus at the American Museum of Natural History.
Ethiopia has often attracted attention because of its unique position as an ancient Christian culture far into Africa. Many people have been fascinated by the brilliant colours and childlike directness of traditional Ethiopian art. Little attention has been given, however, to the great art periods the culture has witnessed in the past. The fifteenth century saw a magnificent flowering of painting in the highlands of central and northern Ethiopia D in paintings on panel and above all in manuscripts. This book features an unparallelled collection of Ethiopian Christian artefacts, mostly fifteenth-century manuscripts and icons and metalwork but also some work from the two succeeding centuries."
"California Indian Baskets" is lavishly illustrated in full color with rare baskets from the magnificent collections of the University of California, Harvard University, Smithsonian Institution, The British Museum, Madrid's Museo de America, Royal Museum of Scotland, Santa Barbara Museum of Natural History, Southwest Museum and many other world-class museums and private collections. The vast majority of these rare baskets have never appeared in print before. Made possible in part through the support and vision of three California Indian tribes, this remarkable book is the result of decades of research by noted basketry scholar Ralph Shanks.
Expertly researched and well written, "California Indian Baskets" honors the achievements of the First Californians. The book illuminates Native American art, history, technology, population movements, cultural interactions, and native plant uses. The book demonstrates basketry studies can rank with archeology, linguistics and DNA research in understanding and appreciating Native American culture and history. This is especially true in California where baskets were central to daily life. It was through basketry that the most populous and linguistically diverse Native American population in the United States was able to create a highly productive economy and vibrant cultural life with no agriculture and very limited use of pottery. Native California was not "pre-agricultural," but rather a land where basketry was combined with native plant resources so successfully that agriculture was not needed.
Ralph Shanks is the author of the companion volume, "Indian Baskets of Central California," and is president of the Miwok Archeological Preserve of Marin. Lisa Woo Shanks is editor of the "Indian Baskets of California and Oregon" series.
"This is the outstanding new companion volume to Ralph & Lisa Shanks' acclaimed "Indian Baskets of Central California." The authors once again provide an authoritative book, this time on the southern half of California, on an important American art form. Excellent photography and text." -Jonathan C. H. King, The British Museum
Even the earliest European explorers to the Americas collected
objects made by native people. The ongoing fascination with the
artistic and cultural expressions of American Indian people is
documented historically, along with a close look at seven
midwestern collections. The wide array of art encompassed is
handsomely illustrated, and includes pottery, weavings, basketry,
beadwork, and carvings.
Art is a rich and ancient tradition among the Tewa Pueblo Indians of northern New Mexico, going back to the pictures their ancestors carved and painted on stone across the Southwest. Today Pueblo art is created in an environment in which traditional forms overlap with modern media. Nowhere is this fusion more evident than in the art of Pueblo children. In Where There Is No Name for Art, photographer and "art coach" Bruce Hucko introduces us to some of his Tewa Pueblo students through their drawings, paintings, and words and through his photographs of them at work and at play. These children straddle two worlds. They participate in traditional dances and play video games. They paint airplanes and horses, basketball stars and sacred kivas. They also do their homework, help with the chores, and listen to rap music. The children's vibrant, imaginative artwork is complemented by their humorous and thoughtful commentary on living in a changing culture. Presenting an insider's view of what it means to be growing up Pueblo today, the children talk about their families and their communities, share their feelings about their culture, and discuss the process of making art.
This volume tracing the history of Native American art examines such topics as Native American culture, art and tradition, and how these have changed in modern times.
Completing the two-volume set, Souls Grown Deep, Vol. 2 takes the visual and historical presentation of the first volume to a richer level, offering an even broader array of artistic styles and media.
Published in 2000, the first volume explored the diverse historical roots of the genre and introduced artists whose work recalled the South of the pre-civil rights era. This sequel brings the movement into the present, delving into the work of the current generation of artists who are creating a complex form of art that blurs the boundaries between folk and contemporary art.
Hardcover, 199 pages, 750 color and historic b & w illustrations; Dimensions (in inches): 11.50 x 1.00 x 8.75 Vol. 1 - "American Indian Art Series." REVIEWS: ***** "The Bible of Native Arts " Native Peoples Magazine "The volume will for decades remain a primary resource." Dr. Bruce Bernstain, Smithsonian Institutiton, National Museum of the American Indian "We applaud the efforts of Dr. Gregory Schaaf in his American Indian Art Series." Susan Pourian, The Indian Craft Shop, Department of Interior "THE reference books for Indian art." Isa and Dick Diestler
Hardcover, 319 pages, 2,000 color and historic b & w illustrations; Featuring Navajo blankets & rugs, Pueblo textiles, Cherokee, Alaskan Native and other tribes, ca. 1850 to present. Dimensions (in inches): 11.50 x 1.00 x 8.75 Vol. 3 - "American Indian Art Series." REVIEWS: ***** "The Bible of Native Arts!" Native Peoples Magazine "The volume will for decades remain a primary resource." Dr. Bruce Bernstain, Smithsonian Institutiton, National Museum of the American Indian "We applaud the efforts of Dr. Gregory Schaaf in his American Indian Art Series." Susan Pourian, The Indian Craft Shop, Department of Interior "THE reference books for Indian art." Isa and Dick Diestler
Pacific Island Artists Navigating the Global Art World brings together artists, academics, museum curators and gallery owners to discuss the creation and promotion of contemporary Pacific arts in the global art world.Addressing art production from across the Pacific region (Australia, Papua, Papua New Guinea, the Solomon Islands, Vanuatu, Fiji, Rotuma, Samoa, Tonga, New Zealand, Guam, Hawaii, and the Northwest Coast of Canada) this volume examines how these arts are exhibited and marketed on a world stage. It provides the opportunity for a global dialogue concerning contemporary indigenous arts while it explores the diversity and complexities of contemporary Pacific art. In so doing, these contributors confront a variety of issues associated with the production, marketing and acceptance of indigenous arts in a global art world.
The life of Woodrow "Woody" Crumbo (1912-1989) parallels the twentieth-century evolution of American Indian art. An accomplished Native dancer, flutist, silversmith, and poet, Crumbo is perhaps best known today for his oil paintings and silk screens--revolutionary artworks that were denigrated by some critics at first but that helped move Indian art to museums of fine art, as well as its markets. Now the life story of an Indian artist who often went against the grain is told by an accomplished Indian storyteller.
Chickasaw author Robert Perry's interest in gathering and preserving elders' stories from neighboring tribes prompted him to write this long-awaited biography. Starting with a suitcase full of newspaper clippings provided by Crumbo's widow, Perry traced Crumbo's first flowering as an artist from his studies at Chilocco Indian School, where he befriended several Kiowas who taught him about their dances and regalia and introduced him to the traditional Kiowa cedar-wood flute.
The book follows Crumbo from Chilocco to his studies at Wichita University and the University of Oklahoma, his years touring as an Indian dancer, and his position as director of art at Bacone College in Muskogee, Oklahoma. Later, Crumbo collaborated with Taos artists, helped organize Indian art exhibitions at the Gilcrease and Philbrook art museums in Tulsa, and directed the El Paso Museum of Art.
"Uprising Woody Crumbo's Indian Art" tells a compassionate and inspiring story as it fills a gap in the historical record regarding indigenous artists of the century just closed.
A Comprehensive Guide to the Objects Associated with the Voyages of James Cook Held at New Zealands National Museum. Almost 250 years after James Cook first sighted Aotearoa New Zealand in October 1769, there is still world-wide interest in all aspects of his three voyages of exploration in the Pacific between 1768 and 1779: discovery (by Europeans), astronomy, natural science, and interactions with indigenous communities. For many people, the artificial curiosities works of human manufacture from exotic locations collected on these voyages by Cook himself and others on his ships,including super-numenaries and servants, have held a particular fascination. In this handsome book, widely respected Pacific scholar Janet Davidson details the collection of Maori, Pacific and Native American objects associated with the voyages held at the Museum of New Zealand Te Papa Tongarewa, one of the few significant institutional collections that have not been fully described until now.Richly illustrated and accessibly written, it is a treasure trove.
Over the past 30 years Susan Point has become the preeminent Coast Salish artist of her generation, exploring many different modern and traditional themes in a wide variety of media. She has received major public commissions in her home province of British Columbia as well as throughout the Northwest coast, the traditional territory of her people, creating extraordinary monumental sculptures that grace important public buildings. Her glass sculptures are collected around the world. This is the first book devoted exclusively to her works on paper. Over the past 30 years Point has also been an innovator in printmaking, adapting traditional Coast Salish themes to modern art techniques, translating the heritage of her culture to the wider world while creating a body of work that appeals to art collectors from around the globe. Her synthesis of contemporary and traditional styles has resulted in a formidable artistic accomplishment. This beautifully designed volume collects 160 of her prints together for the first time and is sure to inspire and amaze those who see it.
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