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Inuit art, both ancient and contemporary, has inspired the interest of scholars, collectors and art lovers around the globe. This book examines Inuit art from prehistory to the present with special attention to methodology and aesthetics, exploring the ways in which it has been influenced by and has influenced non-Inuit artists and scholars. Part One gives the history of the main art-producing prehistoric traditions in the North American arctic, concentrating on the Dorset who once flourished in the Canadian region. It also demonstrates the influence of theories such as evolutionism, diffusionism, ethnographic comparison, and shamanism on the interpretation of prehistoric Inuit art. Part Two demonstrates the influence of such popular theories as nationalism, primitivism, modernism, and postmodernism on the aesthetics and representation of twentieth-century Canadian Inuit art. This discussion is supported by interviews conducted with Inuit artists. A final chapter shows the presence of Inuit art in the mainstream multi-cultural environment, with a discussion of its influence on Canadian artist Nicola Wojewoda. The work also presents various Inuit artists' reactions to Wojewoda's work.

In the 1890s, the Danish lieutenant Ole Olufsen set out to lead two expeditions to Tsarist Central Asia. Exploring areas that were still blank on European and Russian maps, the participants spent more than a year traveling on horseback in the pamirs and adjacent valleys bordering Afghanistan, China, and British India. Esther Fihl offers an in-depth study of these Danish expeditions and presents the magnificent collection of objects brought back to the National Museum of Denmark. Drawing on diaries, reports, and published works and a scrutiny of the guiding principles for their collecting of objects, she demonstrates how these explorers portrayed the cultures encountered. This work is a treasure for anyone interested in Central Asia, early anthropological theory, material culture, or European travel literature. They lived with Kyrgyz nomads who carved out an existence for themselves above the tree line with their sheep, goats, and yaks. Traveling along the river Pandsh, they were the first Europeans to collect ethnographical information on the transhumant pastoralists in the elevated valleys bordering Afghanistan. On the steppes of the western lowlands, the Danish expeditions stopped in Samarkand, Khiva, and Bukhara, commercial hubs on the old Silk Road. As official guests of both the emir of Bukhara and the khan of Khiva, they studied the handicrafts of the bazaars and the irrigation agriculture practiced by the Tajiks and Uzbeks. On visits to Merv they also spent time with Turkmen nomadic tribes who had only recently been fighting the Russian colonial power.

Tantra: enlightenment to revolution explores the radical philosophy that transformed the religious, cultural and political landscape of India and beyond. Originating in early medieval India, Tantra has been linked to successive waves of revolutionary thought - from its 6th-century transformation of Hinduism and Buddhism to the Indian fight for independence and the global rise of 1960s counterculture. Centring on the power of divine feminine energy, Tantra inspired the dramatic rise of goddess worship in medieval India and has gone on to influence contemporary feminist thought and artistic practice. Presenting masterpieces of sculpture, painting, prints and ritual objects from India, Pakistan, Bangladesh, Nepal, Tibet, Japan, the UK and the USA, this publication offers new insights into a philosophy that has captured our imagination for more than a millennium.

Art works created by indigenous people on other continents in European and American museums have become subject of controversial debate. How exactly these collections of tribal art from Africa, North and South America, Asia, and Oceania in rich countries have been amassed over centuries, and how such works continue to be sourced and traded today, is under close scrutiny and claims for their restitution to the places and people of their origin are voiced loudly. Zurich's Museum Rietberg, one of Europe's most renowned museums of non-European art, has undertaken an extensive research project to explore the history of its own collection. The essays by expert authors in this illustrated publication investigate the pathways along which objects travelled from their origins to the museum. They shed light at the shifts in meaning of these artefacts that have occurred in the course of the transfers. And they demonstrate the importance of provenance research for learning comprehensively about and taking a critical approach in the assessment of the complex biographies of artefacts. Pathways of Art offers an important contribution to the current debate about the status and impact of non-European art in the global North. It aims to foster awareness of colonial and post-colonial contexts of trading and collecting such art works and to help establishing new, more informed and just, and less Eurocentric, museum narratives.

All of the beautiful American Indian jewelry shown in this book was actually for sale when the photographs were taken with the prices and ranges noted with each caption. Therefore, it will be useful to all enthusiasts of Indian arts, because it shows hundreds of pieces that are really available on today's marketplace. The 336 beautiful color photographs demonstrate the excellent craftsmanship in the jewelry and the text presents the variations of style to be exciting. Collectors, dealers, historians and travelers to the Southwest all will enjoy the concise and informative text and visual pleasure this book presents.

First published in 1991. Routledge is an imprint of Taylor & Francis, an informa company.

The Northwest Coast totem pole captivates the imagination. From the first descriptions of these tall carved monuments, totem poles have become central icons of the Northwest Coast region and symbols of its Native inhabitants. Although many of those who gaze at these carvings assume that they are ancient artifacts, the so-called totem pole is a relatively recent artistic development, one that has become immensely important to Northwest Coast people and has simultaneously gained a common place in popular culture from fashion to the funny pages. The Totem Pole reconstructs the intercultural history of the art form in its myriad manifestations from the eighteenth century to the present. Aldona Jonaitis and Aaron Glass analyze the totem pole's continual transformation since Europeans first arrived on the scene, investigate its various functions in different contexts, and address the significant influence of colonialism on the proliferation and distribution of carved poles. The authors also describe their theories on the development of the art form: its spread from the Northwest Coast to world's fairs and global theme parks; its integration with the history of tourism and its transformation into a signifier of place; the role of governments, museums, and anthropologists in collecting and restoring poles; and the part that these carvings have continuously played in Native struggles for control of their cultures and their lands. Short essays by scholars and artists, including Robert Davidson, Bill Holm, Richard Hunt, Nathan Jackson, Vickie Jensen, Andrea Laforet, Susan Point, Charlotte Townsend-Gault, Lyle Wilson, and Robin Wright, provide specific case studies of many of the topics discussed, directly illustrating the various relationships that people have with the totem pole. Errata: http://www.washington.edu/uwpress/books/Jonaitis_errata_24.pdf

Commemorating twenty years of manga, FEMME FATALE showcases of all of the full color artwork from New York Time's Best Selling artist Shuzo Oshimi. Featuring cover art, posters, promotional materials and never before translated comics, this is a definitive compilation of character art from one of the best known manga artists in the 21st Century. Concept art and promotional illustrations from FLOWERS OF EVIL, INSIDE MARI, DRIFTING NET CAFE and BLOOD ON THE RAILS are also included giving readers a deeper look into Oshimi's processes and artistic mind. This collection also includes dozens of never before published in English comic pages that are a must have for Oshimi completionists.

James B. Thompson: Fragments in Time explores the development of Thompson's work over the past two decades, from his Certain Situations series of the mid-1990s to his more recent Forgotten Biography of Tools series from 2015. Bob Hicks best describes Thompson's work: "[it] grapples with the perplexing issues of cultural and geological change. [Thompson] ranges freely through ancient and forgotten forms to confront the mysteries and fractures of the universe, investigating not just the abandoned and the unknown, but the limits and possibilities of the art forms, often with understated wit." James B. Thompson was born in Chicago in 1951 and received his MFA from Washington University in 1977. Since 1986, Thompson has been a member of the art faculty at Willamette University in Salem, Oregon, where he teaches courses in painting, printmaking, drawing, and design. His art has appeared in numerous solo and group exhibitions throughout the United States and is included in public and private collections throughout the United States and Europe. Thompson is recognized as one of the most interesting and innovative artists in Oregon, and the Hallie Ford Museum of Art is proud to honor him with this twenty-year retrospective.

The Cambridge Illustrated History of China is an illuminating account of the full sweep of Chinese civilisation - from prehistoric times to the intellectual ferment of the Warring States Period, through the rise and fall of the imperial dynasties, to the modern communist state. Written by a leading scholar and lavishly illustrated, its narrative draws together everything from the influence of key intellectual figures, to political innovations, art and material culture, family and religious life, not to mention wars and modern conflicts. This third revised edition includes new archaeological discoveries and gives fuller treatment of environmental history and Chinese interaction with the wider world, placing China in global context. The Qing dynasty is now covered in two chapters, while the final chapter brings the story into the twenty-first century, covering the transformation of China into one of the world's leading economies and the challenges it faces. Lively and highly visual, this book will be appreciated by anyone interested in Chinese history.

Conceptualizes "graft"- the violent and creative processes of suturing arts as a method of empire building in western eighteenth-century India Grafted Arts focuses on Maratha military rulers and British East India Company officials who used the arts to engage in diplomacy, wage war, compete for prestige, and generate devotion as they allied with (or fought against) each other to control western India in the eighteenth century. This book conceptualizes the artistic combinations that resulted as ones of "graft"-a term that acknowledges the violent and creative processes of suturing arts, and losing and gaining goods, as well as the shifting dynamics among agents who assembled such materials. By tracing grafted arts from multiple perspectives-Maratha and British, artist and patron, soldier and collector-this book charts the methods of empire-building that recast artistic production and collection in western India and from there across India and in Britain. This mercenary method of artistry propagated mixed, fractured, and plundered arts. Indeed, these "grafted arts"-disseminated across India and Britain over the nineteenth century to aid in consolidating empire or revolting against it entirely-remain instigators of nationalist agitation today. Distributed for the Paul Mellon Centre for Studies in British Art

In 1923, French artist Andre Joyeux published a visually stunning, limited edition homage to Indochina in memory of his friend, Pierre Rey, who was killed in action during WWI. His concept revolved around French sonnets by Rey (nom de plume of Capitaine Paul Philibert Regnier) that Joyeux brought to life with 33 original watercolors. Former Governor-General of French Indochina, Albert Sarraut, contributed the Foreword to this artistically rare vision of the land, customs and people of Southeast Asia. In this modern, full-color hardcover edition, graphic designer Rebecca Klein hand-retouched each of Joyeux's original watercolors, adapting their elements to fit this larger format. To introduce this important French Colonial work to new audiences, an English language translation of M. Albert Sarraut's foreword is provided, with a biographical profile of both artists in a preface by researcher Joel Montague.

In this theoretical tour-de-force, renowned scholar Ariella Aisha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasised the possibility of progress while trying to destroy what came before, and voraciously sought out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practising what she calls potential history, Azoulay argues that we can still refuse the imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas to the Congo ruled by Belgium's brutal King Leopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions - an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums - to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as "past" and making the repair of torn worlds the substance of politics.

The Aura of Confucius is a ground-breaking study that reconstructs the remarkable history of Kongzhai, a shrine founded on the belief that Confucius' descendants buried the sage's robe and cap a millennium after his death and far from his home in Qufu, Shandong. Improbably located on the outskirts of modern Shanghai, Kongzhai featured architecture, visual images, and physical artifacts that created a 'Little Queli,' a surrogate for the temple, cemetery, and Kong descendants' mansion in Qufu. Centered on the Tomb of the Robe and Cap, with a Sage Hall noteworthy for displaying sculptural icons and not just inscribed tablets, Kongzhai attracted scholarly pilgrims who came to experience Confucius's beneficent aura. Although Kongzhai gained recognition from the Kangxi emperor, its fortunes declined with modernization, and it was finally destroyed during the Cultural Revolution. Unlike other sites, Kongzhai has not been rebuilt and its history is officially forgotten, despite the Confucian revival in contemporary China.

This engaging exploration of the Maya pantheon introduces readers to the complex stories of Mesoamerican divinity through the stunning carvings, ceramics, and metalwork of the Classic period Focusing on the period between A.D. 250 and 900, Lives of the Gods reveals that ancient Maya artists evoked a pantheon as rich and complex as the more familiar Greco-Roman, Hindu-Buddhist, and Egyptian deities. The authors show how this powerful cosmology informed some of the greatest creative achievements of Maya civilization, represented here from the monumental to the miniature through more than 140 works in jade, stone, and clay. Thematic chapters supported by new scholarship on recent archaeological discoveries detail the different types of gods and their domains, the role of the divine in the lives of the ancient Maya, and the continuation of these traditions from the colonial period through the present day. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (November 21, 2022-April 2, 2023) Kimbell Art Museum, Fort Worth, TX (May 7-September 3, 2023)

From the river valleys of interior British Columbia south to the hills of northern Oregon and east to the continental divide in western Montana, hundreds of cliffs and boulders display carved and painted designs created by ancient artists who inhabited this area, the Columbia Plateau, as long as seven thousand years ago. Expressing a vital social and spiritual dimension in the lives of these hunter-gathers, rock art captivates us with its evocative power and mystery. At once an irreplaceable yet fragile cultural resource, it documents Native histories, customs, and visions through thousands of years. This valuable reference and guidebook addresses basic questions of what petroglyphs and pictographs are, how they were produced, and how archaeologists classify and date them. James Keyser identifies five regions on the Columbia Plateau, each with its own variant of the rock art style identifiable as belonging exclusively to the region. He describes for each region the setting and scope of the rock art along with its design characteristics and possible meaning. Through line drawings, photographs, and detailed maps he provides a guide to the sites where rock art can be viewed. In western Montana, rock art motifs express the ritualistic seeking of a spirit helper from the natural world. In interior British Columbia, rayed arcs above the heads of human figures demonstrate possession of a guardian spirit. Twin figures on the central Columbia Plateau reveal another belief--the special power of twins--and hunting scenes celebrate success of the chase. The grimacing evocative face of Tsagiglalal, in lower Columbia pictographs, testifies to the Plateau Indians' "death cult" response to the European diseases that decimated their villages between 1700 and 1840. On the southeastern Plateau, images of horse-back riders mark the adoption, after 1700 of the equestrian and cultural habits of the northwestern Great Plains Indians. Despite geographic differences in emphasis, similarities in design and technique link the drawings of all five regions. Human figures, animals depicting numerous species on the Plateau, geometric motifs, mysterious beings, and tally marks, whether painted or carved, appear throughout the Columbia Plateau.

"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times 'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall? How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon. The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today. The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.

Explore the works of one of the greatest artists of all time.

Vincent Van Gogh art deck is a stunning collection of 50 cards featuring some of the most iconic paintings of this legendary artist.

Each card explores a different masterpiece in intricate detail, offering a deep dive into Van Gogh's creative process, artistic technique, and personal life.

From the vibrant swirls of Starry Night to the delicate blooms of Almond Blossom, these cards offer a unique perspective on the life and work of one of the greatest artists of all time.

Whether you're an art lover, a Van Gogh aficionado, or simply looking for a beautiful and informative deck of cards, Vincent Van Gogh art deck is the perfect addition to your coffee table, bookcase, or desk.

Ink, Silk, and Gold explores the dynamic and complex traditions of Islamic art through more than 115 major works in a dazzling array of media, reproduced in full color and exquisite detail - manuscripts inscribed with gold, paintings on silk, elaborate metalwork, intricately woven textiles, luster-painted ceramics, and more. These objects, which originated within an Islamic world that ranges from Western Europe to Indonesia and across more than thirteen centuries, share a distinctive relationship to the materials they are made of: their color, shape, texture, and technique of production all convey meaning. Enhanced by texts from an international team of scholars and drawing on the latest technical information, Ink, Silk, and Gold is an inviting introduction to the riches of the Islamic art collection at the Museum of Fine Arts, Boston, and a window into a vibrant global culture.

From starry-eyed fans with dreams of fame to cotton entrepreneurs turned movie moguls, the Bombay film industry has historically energized a range of practices and practitioners, playing a crucial and compelling role in the life of modern India. Bombay Hustle presents an ambitious history of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city. Drawing on original archival research and an innovative transdisciplinary approach, Debashree Mukherjee offers a panoramic portrait of the consolidation of the Bombay film industry during the talkie transition of the 1920s-1940s. In the decades leading up to independence in 1947, Bombay became synonymous with marketplace thrills, industrial strikes, and modernist experimentation. Its burgeoning film industry embodied Bombay's spirit of "hustle," gathering together and spewing out the many different energies and emotions that characterized the city. Bombay Hustle examines diverse sites of film production-finance, pre-production paperwork, casting, screenwriting, acting, stunts-to show how speculative excitement jostled against desires for scientific management in an industry premised on the struggle between contingency and control. Mukherjee develops the concept of a "cine-ecology" in order to examine the bodies, technologies, and environments that collectively shaped the production and circulation of cinematic meaning in this time. The book thus brings into view a range of marginalized film workers, their labor and experiences; forgotten film studios, their technical practices and aesthetic visions; and overlooked connections among media practices, geographical particularities, and historical exigencies.

Diversifying the current art historical scholarship, this edited volume presents the untold story of modern art by exposing global voices and perspectives excluded from the privileged and uncontested narrative of “isms.” This volume tells a worldwide story of art with expanded historical narratives of modernism. The chapters reflect on a wide range of issues, topics, and themes that have been marginalized or outright excluded from the canon of modern art. The goal of this book is to be a starting point for understanding modern art as a broad and inclusive field of study. The topics examine diverse formal expressions, innovative conceptual approaches, and various media used by artists around the world and forcefully acknowledge the connections between art, historical circumstances, political environments, and social issues such as gender, race, and social justice. The book will be of interest to scholars working in art history, imperial and colonial history, modernism, and globalization.

OBSERVATIONS OF THE SUN, moon, planets, and stars played a central role in ancient Maya lifeways, as they do today among contemporary Maya who maintain the traditional ways. This pathfinding book reconstructs ancient Maya astronomy and cosmology through the astronomical information encoded in Precolumbian Maya art and confirmed by the current practices of living Maya peoples.

Susan Milbrath opens the book with a discussion of modern Maya beliefs about astronomy, along with essential information on naked-eye observation. She devotes subsequent chapters to Precolumbian astronomical imagery, which she traces back through time, starting from the Colonial and Postclassic eras. She delves into many aspects of the Maya astronomical images, including the major astronomical gods identified with the sun, moon, naked-eye planets, and constellations and their associated glyphs, astronomical almanacs in the Maya codices (painted books), and changes in the imagery of the heavens over time.

This investigation yields new data and a new synthesis of information about the specific astronomical events and cycles recorded in Maya art and architecture. The first major study to focus on the relationship between art and astronomy in ancient Maya culture, this book will be essential reading for students and scholars of Precolumbian art history and anthropology, archaeoastronomy, ethnography, and comparative mythology.

Susan Milbrath is Curator of Latin American Art and Archaeology at the Florida Museum of Natural History and Affiliate Professor of Anthropology at the University of Florida. A former student of Esther Pasztory, she did postdoctoral work with Michael Coe and Anthony F. Aveni and served asguest curator of "Star Gods of the Ancient Americas", a traveling exhibit that opened at the American Museum of Natural History and toured nationally between 1982 and 1984.