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.

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.

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.