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The legacy of the art and cultural scientist Aby Warburg offers
many subjects for reassessment. Almost unknown until now are the
artifacts he collected on a journey through the southwest of the US
in 1895/96 and donated to the Museum fur Voelkerkunde in Hamburg
(today Museum am Rothenbaum). The results first unfolded in
Warburg's famous lecture on the "snake ritual" of the Hopi (1923).
Following Warburg's transdisciplinary approach, this publication
examines his guiding principles in assembling his collection as
well as his reading of Pueblo art and culture. It pays tribute to
the works and their artistic significance and sheds light on the
circumstances of acquisition in the sociopolitical environment of
the Pueblo communities of the time. The contemporary fascination
with the snake ritual is also a topic. Set against this are the
previously neglected perspectives and strategies of Pueblo leaders
to regain interpretive sovereignty over culturally sensitive
content and imagery.
The legacy of the art and cultural scientist Aby Warburg offers
many subjects for reassessment. Almost unknown until now are the
artifacts he collected on a journey through the southwest of the US
in 1895/96 and donated to the Museum fur Voelkerkunde in Hamburg
(today Museum am Rothenbaum). The results first unfolded in
Warburg's famous lecture on the "snake ritual" of the Hopi (1923).
Following Warburg's transdisciplinary approach, this publication
examines his guiding principles in assembling his collection as
well as his reading of Pueblo art and culture. It pays tribute to
the works and their artistic significance and sheds light on the
circumstances of acquisition in the sociopolitical environment of
the Pueblo communities of the time. The contemporary fascination
with the snake ritual is also a topic. Set against this are the
previously neglected perspectives and strategies of Pueblo leaders
to regain interpretive sovereignty over culturally sensitive
content and imagery.
Kansas-born educator Dorothy Dunn established America's first
Indian art school, thus ushering in the flat-art style by which
Native American painters have been celebrated as the first
modernists. Reproduced here are over ninety paintings by such
prominent artists and former students as Pablita Velarde, Joe H
Herrera, Allan Houser and Pop Chalee.
Each August, one hundred thousand people attend Indian Market in
Santa Fe, New Mexico, the nation's largest and most anticipated
Native arts event. One thousand artists, representing 160 tribes,
nations, and villages from the United States and Canada, proudly
display and sell their works of art, ranging from pottery and
basketry to contemporary paintings and sculptures. The history of
Indian Market as related in this new publication is the story of
Indian cultural arts in the twentieth century beginning with Edgar
L. Hewett and the founding of the Museum of New Mexico in Santa Fe
in 1909. At the turn of the last century, the notion of Indian art
as art in its own right and not ethnography was a foreign concept.
With the arrival of the railroad and tourism in New Mexico, two
thousand years of utilitarian Pueblo pottery tradition gave way to
a curio trade intended for visitors to the area. The curators and
archaeologists at the Museum of New Mexico began to collect
prehistoric and historic pottery and encouraged potters to make
pottery modeled on traditional ideas thought to represent authentic
culture. Maria and Julian Martinez countered the idea that art was
a matter of studying the past when in 1922, at the first "Indian
Fair", they introduced their revolutionary Black-on-black pottery.
Bruce Bernstein links these early developments to Indian Market's
ninety-year relationship with Native arts, cultural movements,
historical events, and the ever-evolving creativity of Native
artists to shape their market.
Accompanying a major exhibition, this stunning volume serves as an
introduction to North American Indian art and a rare opportunity to
see this comprehensive and superb private collection. A glorious
testament to the infinite beauty, diversity, and historical
significance of Native American culture, Indigenous Beauty presents
outstanding examples of art made by tribes across the North
American continent. This aesthetically rich and inclusive
collection offers a broad view of American Indian art, including
sculpture from the Northwest Coast; ancient ivories from the Bering
Strait region; Yup'ik and Alutiiq masks from the Western Arctic;
Katsina dolls from the Southwest Pueblos; Southwest pottery;
sculptural objects from the Eastern Woodlands; Eastern regalia;
Plains regalia and pictographic arts; and Western baskets. David
Penney's introduction and texts by other renowned experts offer
insight into the visual and material diversity of the collection,
providing a greater understanding of the social and cultural worlds
from which these works came. This magnificent survey is both an
invaluable resource and a visual pleasure.
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