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The faking of Native American art objects has proliferated as their
commercial value has increased, but even a century ago experts were
warning that the faking of objects ranging from catlinite pipes to
Chumash sculpture was rampant. Through a series of historical and
contemporary case studies, Janet Catherine Berlo engages with
troubling and sometimes confusing categories of inauthenticity.
Based on decades of research as well as interviews with curators,
collectors, restorers, replica makers, reenactors, and Native
artists and cultural specialists, Not Native American Art examines
the historical and social contexts within which people make
replicas and fakes or even invent new objects that then become
"traditional." Berlo follows the unexpected trajectories of such
objects, including Northwest Coast carvings, "Navajo" rugs made in
Mexico, Zuni mask replicas, Lakota-style quillwork, and Mimbres
bowl forgeries. With engaging anecdotes, the book offers a rich and
nuanced understanding of a surprisingly wide range of practices
that makers have used to produce objects that are "not Native
American art."
This exciting new investigation explores the rich variety of indigenous arts in the US and Canada from the early pre-contact period to the present day. It shows the importance of the visual arts in maintaining the integrity of spiritual, social, political, and economic systems within Native North American societies and examines such issues as gender, representation, the colonial encounter, and contemporary arts. Basketry, wood and rock carvings, dance masks, and beadwork, are discussed alongside the paintings and installations of modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier.
In the middle of a successful academic career, art historian Janet
Catherine Berlo found herself literally at a loss for words. A
severe case of writer’s block forced her to abandon a book
manuscript midstream; she found herself quilting instead. Scorning
the logic, planning, and order of scholarship and writing, she
immersed herself in freewheeling patterns and vivid colors. For
eighteen months she spent all day, every day, quilting. This book
penetrates to the very heart of women’s lives, focusing on their
relationships to family and friends, to work, to daily tasks. It is
a search for meaning at midlife, a search for an integration of
career and creativity.
Wild by Design explores the American tradition of freewheeling,
improvisational, often asymmetrical quilts, whose makers
experimented boldly with design, color, and pictorial motifs. It
examines both the aesthetics and the social history of quilts from
the early nineteenth century to the present, including Amish,
African American, and modern art quilts. From the state fair to the
clothesline, women have sought ways to exhibit the beauty and
optical effects of their quilts. The "quilting frolic" of the
nineteenth century was for many women an alternative to the art
academy and the salon. Janet Berlo reminds us that quilts were a
valued form of artistic expression, meant to be shared and admired
among the company of other women. Over fifty applique and pieced
quilts are illustrated, chosen from the collections of the
International Quilt Study Center for their outstanding visual
qualities. Each is accompanied by a lively dialogue among quilt
experts that illustrates the varied dimensions of quilts as
aesthetic objects of the highest order and as reflections of the
lives and societies of their makers. This multifaceted analysis of
quilts sheds light on the histories of women, textiles, and
American art and culture.
Chapters provide detailed information on manufacturing (spinning, weaving, dyeing, decorating); communicative significance (ethnicity, identity, tradition, rank, geographic origin); and marketing and commercialization among contemporary groups of indigenous descent"--Handbook of Latin American Studies, v. 57.
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.
Silver Horn's lifespan (1860-1940) placed him in the midst of
extreme cultural transformations: by the time of his death,
highways, silos, and gas stations dominated the land that had, at
his birth, been the domain of buffalo herds and Plains Indians.
Silver Horn's art documents these massive changes in the lives of
the Kiowa Indians, as well as changes in Kiowa art itself: from the
traditional hide paintings, themes of warfare, and two-dimensional
perspectives, Silver Horn progressed through ledger drawings,
scenes of domesticity, and experiments with more naturalistic
styles. The bridge he created between ancient Kiowa aesthetics and
modern forms of expression had dramatic impact, serving as models
for younger Native American artists such as he Kiowa Five of the
1930s, and influencing contemporary artists such as Sharron Ahtone
Jarjo, T.C. Cannon, and Sherman Chaddlesone.
Works by each of these artists appeared at the Alfred Smart Museum
of Art for "Transforming Images, " the first comprehensive
exhibition of Silver Horn's work to date. This volume, richly
illustrated with 75 color plates and 15 black and white
photographs, collects art and commentary from the exhibit.
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