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An awe-inspiring study of the enduring power of Paleolithic art The cave art of France's Dordogne region is world-famous for the mythology and beauty of its remarkable drawings and paintings. These ancient images of lively bison, horses, and mammoths, as well as symbols of all kinds, are fascinating touchstones in the development of human culture, demonstrating how far humankind has come and reminding us of the ties that bind us across the ages. Over more than twenty-five years of teaching and research, Christine Desdemaines-Hugon has become an unrivaled expert in the cave art and artists of the Dordogne region. In her new book she combines her expertise in both art and archaeology to convey an intimate understanding of the "cave experience." Her keen insights communicate not only the incomparable artistic value of these works but also the near-spiritual impact of viewing them for oneself. Focusing on five fascinating sites, including the famed Font de Gaume and others that still remain open to the public, Stepping-Stones reveals striking similarities between art forms of the Paleolithic and works of modern artists and gives us a unique pathway toward understanding the culture of the Dordogne Paleolithic peoples and how it still touches our lives today.
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.
This concise survey showcases the work of Australia's indigenous artists from all parts of the continent. From Arnhem Land and the desert, the Kimberley and northern Queensland, to modern towns and cities, Aboriginal artists have built on traditions that stretch back at least 50,000 years, working in a variety of contexts from the sacred and secret realm of ceremony to more public spheres. Work across all media is included, from painting, sculpture, engraving, constructions and weaving to the most recent work in photography, printmaking and textile design. The story of Aboriginal art is brought into the 21st century in this revised and expanded third edition with a new chapter that maps the latest developments across each of Australia's geographical regions. Updated information and more than twenty-five new illustrations highlight, among other things, the impact of urban living, the growth of local art centres which support the work of indigenous artists, and the rise of women artists - all testifying to Aboriginal art's continued dynamism and vitality.
The art and artists of Harlem: Found Ways represent the place and its people, burnishing Harlem's luster but never attempting to smooth its rough edges. The works in the exhibition span a variety of media to explore the invention of Harlem and, at the same time, reinvent it. Artists in the exhibition Harlem: Found Ways, at the Ethelbert Cooper Gallery of African & African American Art in Cambridge, MA, from 24 May to 15 July, 2017, included Dawoud Bey, Abigail DeVille, Glenn Ligon, Howard Tangye, Nari Ward, and Kehinde Wiley. The exhibition also included items from the Harlem Postcards project at The Studio Museum in Harlem. This catalog features essays, including a foreword by Henry Louis Gates, Jr., that contemplate the uniquely layered urban landscape of Harlem, a city within a city. Vibrantly illustrated with objects from the exhibition, the catalog itself is an important resource for students of contemporary African American art and of the city.
In Art to Come Terry Smith-who is widely recognized as one of the world's leading historians and theorists of contemporary art-traces the emergence of contemporary art and further develops his concept of contemporaneity. Smith shows that embracing contemporaneity as both a historical concept and a condition of the globalized world allows us to grasp how contemporary art exists in a fluid space of increasing interdependencies, multiple contemporaneous modernities, and persistent inequalities. Throughout these essays, Smith offers systematic proposals for writing contemporary art's histories while assessing how curators, critics, philosophers, artists, and art historians are currently doing so. Among other topics, Smith examines the intersection of architecture with other visual arts, Chinese art since the Cultural Revolution, how philosophers are theorizing concepts associated with the contemporary, Australian Indigenous art, and the current state of art history. Art to Come will be essential reading for artists, art students, curators, gallery workers, historians, critics, and theorists.
Visions of Grace: 100 Masterpieces from the Collection of Daniel and Marian Malcolm highlights 100 works from the celebrated collection assembled by Drs Daniel and Marian Malcolm. Assembled over more than four decades, it is one of the finest private collections of Pre-colonial African Art, and as such serves as a model and a source of inspiration for new and seasoned collectors alike. Focusing on pieces of the highest artistic quality, the Malcolms are especially fascinated by creative expressions reflecting the religious beliefs, social structures and traditional values of sub-Saharan African peoples. The author concentrates on the diversity and depth of the collection, providing historical, sociological and religious contexts while exploring the wellspring of the collectors' love for African Art. Striking a balance between oft-published and lesser known masterpieces from the collection, the present volume unveils a number of key works to the public for the first time.
This catalogue presents around 200 artifacts from Irene and Peter Ludwig's collection of pre-Columbian art from the Americas. The works are organized thematically and ethnically, looking at pottery of the Mimbres culture; Mayan works in jade and the diversity of cultures in postclassic Western Mesoamerica (Toltecs, Aztecs, Mixtecs, Zapotecs and Tarascans); the development of early cultures in the Central Andes; ancient Peruvian erotic sculpture; metallurgy in the pre-Hispanic Andes; ritual drinking and libation; and many other topics and genres. A final section considers the appropriation of the pre-Columbian past throughout history and in the present. Also included are timelines of ancient American cultures. The Ludwig Collection today is part of the Rautenstrauch-Joest Museum in Cologne.
India is home to a range of folk and tribal artists, from rich and varied cultural backgrounds. Much of what we learn about these communities - who often exist on the margins of mainstream society - is through their representation in a museum. It is a space that constructs identities in very particular ways. This pioneering dialogue with 47 extraordinary folk and tribal artists from across India focusses on the idea of a museum - particularly for communities historically regarded as anthropological subjects. In their visual responses, artists reflect on the museum as an institution, and the way it preserves, creates and disseminates knowledge. Do these representations communicate a lived life? What are the artists' own ways of remembering and passing on tradition? And finally: who has the power to put whom in a museum?
Leopold Sedar Senghor (1906-2001) was a Senegalese poet and philosopher who in 1960 also became the first president of the Republic of Senegal. "In African Art as Philosophy," Souleymane Bachir Diagne takes a unique approach to reading Senghor's influential works, taking as the starting point for his analysis Henri Bergson's idea that in order to understand philosophers one must find the initial intuition from which every aspect of their work develops. In the case of Senghor, Diagne argues that his primordial intuition is that African art is a philosophy.
To further this point, Diagne looks at what Senghor called the "1889 Revolution," and the influential writers and publications of that time--specifically, Nietzsche and Rimbaud, as well as Bergson's "Essay on the Immediate Data of Consciousness." The 1889 Revolution, Senghor claims, is what led him to the understanding of the "Vitalism" at the core of African religions and beliefs that found expression in the arts.
This book offers a distinct, incisive look at an important figure in African literature and politics that will be welcomed by scholars in African Studies and philosophy.
Warriors of the Plains explores the art of North American Plains Indian warriors - weapons, amulets, clothing and ceremonial objects - with particular emphasis on their ritual use and symbolic meanings. Unlike most books on Plains Indians, which have a purely historical focus, this title examines continuity and change between historic warrior societies and contemporary Native American military associations. Originally set up as clubs to organise war raids and to police seasonal cycles of nomadic hunting, warrior societies today maintain much of the Plains Indians' ethos, vigorously reinforcing their cultural, national and ethnic identity. With a new approach to the subject the author reveals how specific items and symbols - objects of "ritual and honour" - such as the American flag, eagle feathers and medicine bundles have been used over the last 200 years, as well as exploring the introduction of new elements in modern ceremonial practices such as powwow dance competitions and war veterans' celebrations. Lavishly illustrated with objects from the British Museum's important collections, as well as archival material, this book features previously unpublished material. Max Carocci has been conducting research on Plains Indians since 1989. Since 2006 he has been researching and collecting in this area for the British Museum and is the curator of the touring exhibition "Warriors of the Plains: 200 years of Native North American honour and ritual". He lectures on Indigenous American Arts at Birkbeck College, University of London and is editor of the Anthropological Index Online run by the Royal Anthropological Institute.
The Mossi people of Burkina Faso have a rich and complex history that is mirrored by the several types and styles of figures and masks they create. They came into being around 1500 A.D. when a large group of horsemen from what is now northern Ghana rode north into the valley of the Volta River and conquered the local farmers. The descendants of the conquering horsemen became the ruling class and used political art in the form of royal figures to validate their authority. Meanwhile the descendants of the conquered farmers became the spiritual class and made masks to represent the spirits of nature. The stylistic diversity of this art mirrors the several geographically divergent peoples who were conquered in 1500 and eventually became the Mossi we know today. Unlike several other West African peoples, the Mossi have not converted to Islam in large numbers, and so they continue creating brilliant art much as their ancestors did hundreds of years ago. Until the 1980s there was much confusion about the accurate attribution of Mossi art to the people who created it. This book makes clear that the Mossi have continued to create brilliant art which they use to this day to express ideas about politics and religion.
Although cave paintings from the European Ice Age have has gained
considerable renown, for many people the term "rock art" remains
full of mystery. Yet it refers to perhaps the oldest form of
artistic endeavor, splendid examples of which exist on all
continents and from all eras. Rock art stretches in time from about
forty thousand to less than forty years ago and can be found from
the Arctic Circle to the tip of South America, from the caves of
southern France to the American Southwest. It includes animal and
human figures, complex geometrical forms, and myriad mysterious
The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book.
The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world's artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories.
In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published "Northwest Coast Indian Art: An Analysis of Form." This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists' styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration.
The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field
Masks are an ancient tradition of the Alutiiq people on the southern coast of Alaska. Alutiiq artists carved the masks from wood or bark into images of ancestors, animal spirits, and other mythological forces; these extraordinary creations have been an essential tool for communicating with the spirit world and have played an important role in dances and hunting festivities for centuries. "Giinaquq--Like a Face" presents thirty-three full-color images of these fantastic and eye-catching masks, which have been preserved for more than a century as part of the Pinart Collection in a small French museum. These masks, collected in 1871 by a young French scholar of indigenous cultures, are presented for the first time in their complete cultural context, celebrating the rich history of the Alutiiq people and their artistic traditions. In addition to the stunning photographs, "Giinaquq--Like a Face" includes an informative text in three languages--English, Alutiiq, and French--in order to provide a cross-cultural understanding of the masks' traditional meaning and use. This captivating and revealing book will be an essential resource for anyone interested in indigenous art and culture.
San rock paintings, scattered over the range of southern Africa,
are considered by many to be the very earliest examples of
representational art. There are as many as 15,000 known rock art
sites, created over the course of thousands of years up until the
nineteenth century. There are possibly just as many still awaiting
This illustrated historical overview features some of the finest examples of Cherokee art in private, corporate, and museum collections here and abroad. As Susan C. Power ranges across the rich legacy of Cherokee artistic achievement from the sixteenth century to the present, she discusses such objects as baskets, masks, beaded and embroidered garments, jewelry, and paintings. Power draws on archival and scholarly sources and, when possible, the artists' own words as she interprets these objects in terms of their design, craftsmanship, style, and most important, their function and meaning in Cherokee history and culture. In addition to recognizing artistic merit and significant contributions to the development of Cherokee art, Power reveals the wide range of geographical locales from which Cherokee art has originated. This includes the Cherokee's tribal homeland in the Southeast, the tribe's areas of resettlement in the West, and places in the United States and beyond to which individuals subsequently moved. Intimately connected to the time and place of its creation, Cherokee art changed along with Cherokee social, political, and economic circumstances. The entry of European explorers into the Southeast, the Trail of Tears, the American Civil War, and the signing of treaties with the U.S. government are among the transforming events in Cherokee art history that Power discusses. In the twentieth century, as Cherokee artists joined the mainstream art world, they helped shape the Native American Fine Art Movement. Today, Cherokee artists continue to create in an artistic voice that is uniquely Cherokee - a voice that is both traditional and contemporary.
This enchanted tour of Egyptian art by one of its early explorers is one of the most beautiful modern works on ancient Egyptian art. Prisse d'Avennes's monumental work, first published in Paris over a ten-year period between 1868 and 1878, includes the only surviving record of many lost artifacts. This classic work is now available for the first time in paperback.
Through forty-one masterworks, Mumuye reveals some of the most accomplished statues made by this Nigerian tribal group. It was not until the late 1960s that statues from the Mumuye culture of northeastern Nigeria appeared on the European art scene. Their impact was immediate and profound: African art aficionados marvelled at Mumuye artists' abstract interpretation of the human body, which recalled the approach to anatomy by artists of the Cubist and Expressionist movements. Indeed, anthropomorphic Mumuye figure sculptures demonstrate an astonishing range of variations, testifying to their makers' unbridled creativity and limitless inventiveness. Here, a meticulous analysis of the extraordinary forms of Mumuye figures - paying attention to their striking inherent sense of motion - leads to a new style of classification that recognises different workshops and even the hands of individual masters. A summary of the scant field-based studies discusses the figures' primary role as emblems of status and rank, their connections to ancestral veneration, and healing and divination practices. Through a selection of masks and other objects, this book reveals the beauty of Mumuye figurative sculpture.
This sumptuous slip-cased set presents the Barbier-Mueller Collection, which includes masterworks from the Aztec, Maya, and other cultures, in two magnificently illustrated books written by the greatest international specialists on the subject, and also includes Sotheby's sale catalogue. The Barbier-Mueller Collection of Pre-Columbian art, recently auctioned at Sotheby's, is the most comprehensive collection of its kind. Comprising some 300 works from Mexico, Central, and South America - wood and stone sculptures, ceramics, textiles, and ritual objects - it spans 1200 BC to AD 1500. The Barbier-Mueller Collection, one of the most important and wide-ranging art collections in the world, was begun by Josef Mueller in Paris in 1908 with the purchase of works by Hodler and Cezanne; the Swiss Mueller then looked beyond Western art and bought his first pre-Columbian piece, an Aztec stone water goddess, in 1920. Today, Mueller's daughter and son-in-law, Monique and Jean Paul Barbier-Mueller, continue to collect Western, African, Oceanic, and Cycladic art, which is frequently on loan to museums around the world. Text in English and French.
When the Aztec Empire emerged to dominate central Mexico from 1460
to 1519, vast amounts of tribute wealth flowed into the capital
city of Tenochtitlan, enabling artists and architects to create
sophisticated works on a monumental scale. Confronting a
civilization without precedent, some Spanish conquistadors and
missionaries looked to the classical past for explanations and
parallels were drawn between two great empires--the Aztec and the
"Pacific Encounters" will bring together for the first time many stunning Polynesian objects gathered during the early period of contact with European voyagers, missionaries and settlers. The book will present, in eight thematic sections, around 270 items with short captions, including sculptures in wood and stone; feather and basketry images; feather cloaks; wood bowls; decorated bark cloths; and ornaments and valuables of ivory, shell, bone and nephrite. The objects will be drawn from the major regions of Polynesia: the Society Islands (Tahiti), Austral Islands, Cook Islands, Marquesas Islands, Hawaii, Easter Island, Tonga, Fiji, Samoa and New Zealand. Two introductory essays will place the objects in their cultural and historical contexts. The first will focus on the role, meaning and interpretation of Polynesian art and material culture; the second on the history of the collection of this material by explorers (Cook et al.), missionaries and traders, and the routes by which it eventually came to museums. The essays will be illustrated with pictorial material taken from voyaging and missionary sources (paintings, engravings from Cook's Voyages and missionary publications). This groundbreaking book will convey the wonder and excitement not only of the objects themselves, but of the cultures and cultural interactions which gave rise to them. Many were collected during the voyages of Cook, Vancouver and other explorers, and by early Christian missionaries - in effect by European 'chiefs' and 'priests'. Such pieces have remarkable stories to tell.
Following on from the success of the exhibition Before Time Began, Fondation Opale is taking on a new challenge with a show that juxtaposes contemporary Aboriginal art with prominent examples of contemporary art created in a Western and Asian tradition. This beautifully illustrated catalogue includes more than eighty works by over 54 artists from two separate collections, both of which are outstanding in their own right: the collection of Aboriginal art belonging to Berengere Primat and the contemporary art collection amassed by Garance Primat. The works play off each other with powerful effect. Insightful pairings suggest an underlying unity, a merging of mankind, heaven, earth, and the whole cosmos. The Aboriginal artists represented include: Rover Thomas, Gulumbu Yunupingu, Clifford Possum Tjapaltjarri, Judy Watson, Sally Gabori, Emily Kame Kngwarrey, Paddy Bedford, Nonggirrnga Marawili, Ronnie Tjampitjinpa, and John Mawurndjul. The artists working in the Western and Oriental traditions include: Jean Dubuffet, Kiki Smith, Anselm Kiefer, Sol Lewitt, Yayoi Kusama, Giuseppe Penone, and Anish Kapoor.
Hardcover, 304 pages, 2,000 color and historic b & w illustrations; Featuring: Acoma, Cochiti, Isleta, Jemez, Pecos, Laguna, Sandia, San Felipe, Santa Ana, Santo Domingo, Tiqua/Ysleta del Sur, Zia and Zuni. Dimensions (in inches): 11.50 x 1.00 x 8.75 Vol. 4 - "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
This classic compendium of ancient Indian artifacts from the entire southeastern United States remains an indispensable reference source for professionals and enthusiasts alike.
From utilitarian arrowheads to beautiful stone effigy pipes to ornately-carved shell disks, the photographs and drawings in "Sun Circles and Human Hands " present the archaeological record of the art and native crafts of the prehistoric southeastern Indians. Painstakingly compiled in the 1950s by two sisters who traveled the eastern United States interviewing archaeologists and collectors and visiting the major repositories, "Sun Circles and Human Hands" is remarkable for its breadth of illustration of Indian-made artifacts and its comprehensive documentation. Although research over the last 50 years has disproven many of the early theories reported in the text--which were not the editors' theories but those of the archaeologists of the day--the excellent illustrations of objects no longer available for examination have more than validated the lasting worth of this popular book.
Broadly acclaimed when it first appeared, this new printing has the added value of Knight's foreword, which places the work in its proper context. Useful to museums, state and national parks, school libraries, gift stores, archaeological agencies, and private collections, "Sun Circles and Human Hands" is a rich pictorial survey accessible to anyone interested in early American Indian culture.
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