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53 books about Indigenous Art of the Americas
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53 books about Indigenous Art of the Americas
Alaska Native Art
Tradition, Innovation, Continuity
Susan W. Fair
University of Alaska Press, 2006
Ranging from the islands of the Bering Sea to Alaska's interior forests, Alaska Native Art celebrates the rich art of Alaska's Native peoples, both setting their work in the context of historical traditions and demonstrating the vibrant role it continues to play in contemporary Alaskan culture. Alaska Native Art showcases a staggering array of types of art—from beadwork to ivory carving, basketry to skin sewing—from Aleutian Islander, Pacific Eskimo, Tlingit, Athabaskan, Yup'ik, and Inupiaq artists, as well as full-color photographs of artists at work. Lavishly produced, and featuring a fascinating study by author Susan W. Fair of the concept of tradition in the modern world, it is a tribute to the incredible vision of Alaska's Native artists.
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Ancient Mexican Art at Dumbarton Oaks
Susan Toby Evans
Harvard University Press, 2010
This volume, the third in a series of catalogues of Pre-Columbian art at Dumbarton Oaks, presents the outstanding collection of Aztec, Mixtec, Zapotec, Teotihuacan, and Classic Veracruz sculpture, jewelry, and painting. Four leading scholars present essays on the ancient art and archaeology of Mexico’s Central Highlands, Southwestern Highlands, and Gulf Lowlands as well as extensive catalogue entries of over one hundred objects of jade, shell, fine ceramics, wood, and other materials. The catalogue is richly illustrated with color plates, comparative illustrations, and diagrams presented as black-and-white figures. This catalogue will be an important and enduring reference for scholars and students, as well as an attractive volume for admirers of Pre-Columbian art.
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Apache Indian Baskets
Clara Lee Tanner
University of Arizona Press, 1982
Nearly 300 illustrations capture weaving intricacies in this "beautiful, large-format book . . . . A comprehensive survey which will serve as a major reference for years to come" (El Palacio).
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Art for a New Understanding
Native Voices, 1950s to Now
Mindy N. Besaw
University of Arkansas Press, 2018
Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts.
This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more.
As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.
This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more.
As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.
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Art for an Undivided Earth
The American Indian Movement Generation
Jessica L. Horton
Duke University Press, 2017
In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.
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Basket Weavers for the California Curio Trade
Elizabeth and Louise Hickox
Marvin Cohodas
University of Arizona Press, 1997
The peoples of northwestern Califonia's Lower Klamath River area have long been known for their fine basketry. Two early-twentieth-century weavers of that region, Elizabeth Hickox and her daughter Louise, created especially distinctive baskets that are celebrated today for their elaboration of technique, form, and surface designs.
Marvin Cohodas now explores the various forces that influenced Elizabeth Hickox, analyzing her relationship with the curio trade, and specifically with dealer Grace Nicholson, to show how those associations affected the development and marketing of baskets. He explains the techniques and patterns that Hickox created to meet the challenge of weaving design into changig three-dimensional forms. In addition to explicating the Hickoxes' basketry, Cohodas interprets its uniqueness as a form of intersocietal art, showing how Elizabeth first designed her distinctive trinket basket to convey a particular view of the curio trade and its effect on status within her community.
Through its close examination of these superb practitioners of basketry, Basket Weavers for the California Curio Trade addresses many of today's most pressing questions in Native American art studies concerning individuality, patronage, and issues of authenticity. Graced with historic photographs and full-color plates, it reveals the challenges faced by early-twentieth-century Native weavers.
Published with the assistance of The Southwest Museum, Los Angeles.
Marvin Cohodas now explores the various forces that influenced Elizabeth Hickox, analyzing her relationship with the curio trade, and specifically with dealer Grace Nicholson, to show how those associations affected the development and marketing of baskets. He explains the techniques and patterns that Hickox created to meet the challenge of weaving design into changig three-dimensional forms. In addition to explicating the Hickoxes' basketry, Cohodas interprets its uniqueness as a form of intersocietal art, showing how Elizabeth first designed her distinctive trinket basket to convey a particular view of the curio trade and its effect on status within her community.
Through its close examination of these superb practitioners of basketry, Basket Weavers for the California Curio Trade addresses many of today's most pressing questions in Native American art studies concerning individuality, patronage, and issues of authenticity. Graced with historic photographs and full-color plates, it reveals the challenges faced by early-twentieth-century Native weavers.
Published with the assistance of The Southwest Museum, Los Angeles.
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Beyond the Reach of Time and Change
Native American Reflections on the Frank A. Rinehart Photograph Collection
Edited by Simon J. Ortiz
University of Arizona Press, 2004
Around the turn of the twentieth century, most photographs of Indians pandered to shameless, insensitive stereotypes. In contrast, photographic portraits made by Frank A. Rinehart conveyed the dignity and pride of Native peoples. More than 545 Native Americans representing tribes from all over the country attended the Trans-Mississippi and International Exposition in Omaha in 1898 to be part of an event known as the Indian Congress. Rinehart, the exposition’s official photographer, and his assistant Adolph Muhr made more than 500 glass-plate negatives depicting Native Americans in their traditional dress, now housed at Haskell Indian Nations University and regarded as one of the best photographic documentations of Indian leaders from this era.
This book provides an unusual perspective on the Rinehart collection. It features one hundred outstanding images printed from the original negatives made by Rinehart and Muhr at the Congress and over the course of the next two years. It also includes 14 essays by modern Native American writers, artists, and educators—some of them descendants of the individuals photographed—reflecting on the place of these images in their heritage.
Beyond the Reach of Time and Change is not another coffee-table book of historical Indian photographs but rather a conversation between Indian people of a century ago and today. Just as the Rinehart collection offers today's Native Americans a unique connection to the past, this book offers all readers a positive understanding of continuity and endurance within the American Indian community.
This book provides an unusual perspective on the Rinehart collection. It features one hundred outstanding images printed from the original negatives made by Rinehart and Muhr at the Congress and over the course of the next two years. It also includes 14 essays by modern Native American writers, artists, and educators—some of them descendants of the individuals photographed—reflecting on the place of these images in their heritage.
Beyond the Reach of Time and Change is not another coffee-table book of historical Indian photographs but rather a conversation between Indian people of a century ago and today. Just as the Rinehart collection offers today's Native Americans a unique connection to the past, this book offers all readers a positive understanding of continuity and endurance within the American Indian community.
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Blanket Weaving in the Southwest
Joe Ben Wheat; edited by Ann Lane Hedlund
University of Arizona Press, 2003
Exquisite blankets, sarapes and ponchos handwoven by southwestern peoples are admired throughout the world. Despite many popularized accounts, serious gaps have existed in our understanding of these textiles—gaps that one man devoted years of scholarly attention to address.
During much of his career, anthropologist Joe Ben Wheat (1916-1997) earned a reputation as a preeminent authority on southwestern and plains prehistory. Beginning in 1972, he turned his scientific methods and considerable talents to historical questions as well. He visited dozens of museums to study thousands of nineteenth-century textiles, oversaw chemical tests of dyes from hundreds of yarns, and sought out obscure archives to research the material and documentary basis for textile development. His goal was to establish a key for southwestern textile identification based on the traits that distinguish the Pueblo, Navajo, and Spanish American blanket weaving traditions—and thereby provide a better way of identifying and dating pieces of unknown origin.
Wheat's years of research resulted in a masterful classification scheme for southwestern textiles—and a book that establishes an essential baseline for understanding craft production. Nearly completed before Wheat's death, Blanket Weaving in the Southwest describes the evolution of southwestern textiles from the early historic period to the late nineteenth century, establishes a revised chronology for its development, and traces significant changes in materials, techniques, and designs.
Wheat first relates what Spanish observers learned about the state of native weaving in the region—a historical review that reveals the impact of new technologies and economies on a traditional craft. Subsequent chapters deal with fibers, yarns, dyes, and fabric structures—including an unprecedented examination of the nature, variety, and origins of bayeta yarns—and with tools, weaves, and finishing techniques.
A final chapter, constructed by editor Ann Hedlund from Wheat's notes, provides clues to his evolving ideas about the development of textile design. Hedlund—herself a respected textile scholar and a protégée of Wheat's—is uniquely qualified to interpret the many notes he left behind and brings her own understanding of weaving to every facet of the text. She has ensured that Wheat's research is applicable to the needs of scholars, collectors, and general readers alike. Throughout the text, Wheat discusses and evaluates the distinct traits of the three textile traditions. More than 200 photos demonstrate these features, including 191 color plates depicting a vast array of chief blankets, shoulder blankets, ponchos, sarapes, diyugi, mantas, and dresses from museum collections nationwide. In addition, dozens of line drawings demonstrate the fine points of technique concerning weaves, edge finishes, and corner tassels. Through his groundbreaking and painstaking research, Wheat created a new view of southwestern textile history that goes beyond any other book on the subject. Blanket Weaving in the Southwest addresses a host of unresolved issues in textile research and provides critical tools for resolving them. It is an essential resource for anyone who appreciates the intricacy of these outstanding creations.
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Child of the Fire
Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject
Kirsten Pai Buick
Duke University Press, 2010
Child of the Fire is the first book-length examination of the career of the nineteenth-century artist Mary Edmonia Lewis, best known for her sculptures inspired by historical and biblical themes. Throughout this richly illustrated study, Kirsten Pai Buick investigates how Lewis and her work were perceived, and their meanings manipulated, by others and the sculptor herself. She argues against the racialist art discourse that has long cast Lewis’s sculptures as reflections of her identity as an African American and Native American woman who lived most of her life abroad. Instead, by seeking to reveal Lewis’s intentions through analyses of her career and artwork, Buick illuminates Lewis’s fraught but active participation in the creation of a distinct “American” national art, one dominated by themes of indigeneity, sentimentality, gender, and race. In so doing, she shows that the sculptor variously complicated and facilitated the dominant ideologies of the vanishing American (the notion that Native Americans were a dying race), sentimentality, and true womanhood.
Buick considers the institutions and people that supported Lewis’s career—including Oberlin College, abolitionists in Boston, and American expatriates in Italy—and she explores how their agendas affected the way they perceived and described the artist. Analyzing four of Lewis’s most popular sculptures, each created between 1866 and 1876, Buick discusses interpretations of Hiawatha in terms of the cultural impact of Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha; Forever Free and Hagar in the Wilderness in light of art historians’ assumptions that artworks created by African American artists necessarily reflect African American themes; and The Death of Cleopatra in relation to broader problems of reading art as a reflection of identity.
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Chiricahua Apache Enduring Power
Naiche's Puberty Ceremony Paintings
Trudy Griffin-Pierce, foreword by J. Jefferson Reid and Stephanie M. Whittlesey
University of Alabama Press, 2006
A gripping story of the cultural resilience of the descendants of Geronimo and Cochise.
This book reveals the conflicting meanings of power held by the federal government and the Chiricahua Apaches throughout their history of interaction. When Geronimo and Naiche, son of Cochise, surrendered in 1886, their wartime exploits came to an end, but their real battle for survival was only beginning. Throughout their captivity in Florida, Alabama, and Oklahoma, Naiche kept alive Chiricahua spiritual power by embodying it in his beautiful hide paintings of the Girl’s Puberty Ceremony—a ritual at the very heart of tribal cultural life and spiritual strength.
This narrative is a tribute to the Chiricahua people, who survive today, despite military efforts to annihilate them, government efforts to subjugate them, and social efforts to destroy their language and culture. Although federal policy makers brought to bear all the power at their command, they failed to eradicate Chiricahua spirit and identity nor to convince them that their lower status was just part of the natural social order. Naiche, along with many other Chiricahuas, believed in another kind of power. Although not known to have Power of his own in the Apache sense, Naiche’s paintings show that he believed in a vital source of spiritual strength. In a very real sense, his paintings were visual prayers for the continuation of the Chiricahua people. Accessible to individuals for many purposes, Power helped the Chiricahuas survive throughout their history.
In this book, Griffin-Pierce explores Naiche’s artwork through the lens of current anthropological theory on power, hegemony, resistance, and subordination. As she retraces the Chiricahua odyssey during 27 years of incarceration and exile by visiting their internment sites, she reveals how the Power was with them throughout their dark period. As it was when the Chiricahua warriors and their families struggled to stay alive, Power remains the centering focus for contemporary Chiricahua Apaches. Although never allowed to return to their beloved homeland, not only are the Chiricahua Apaches surviving today, they are keeping their traditions alive and their culture strong and vital.
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Colonial Architecture and Sculpture in Peru
Harold Edwin Wethey
Harvard University Press
Colonial Rosary
The Spanish and Indian Missions of California
Alison Lake
Ohio University Press, 2006
California would be a different place today without the imprint of Spanish culture and the legacy of Indian civilization. The colonial Spanish missions that dot the coast and foothills between Sonoma and San Diego are relics of a past that transformed California’s landscape and its people.
In a spare and accessible style, Colonial Rosary looks at the complexity of California’s Indian civilization and the social effects of missionary control. While oppressive institutions lasted in California for almost eighty years under the tight reins of royal Spain, the Catholic Church, and the government of Mexico, letters and government documents reveal the missionaries’ genuine concern for the Indian communities they oversaw for their health, spiritual upbringing, and material needs.
With its balanced attention to the variety of sources on the mission period, Colonial Rosary illuminates ongoing debates over the role of the Franciscan missions in the settlement of California.
By sharing the missions’ stories of tragedy and triumph, author Alison Lake underlines the importance of preserving these vestiges of California’s prestatehood period. An illustrated tour of the missions as well as a sensitive record of their impact on California history and culture, Colonial Rosary brings the story of the Spanish missions of California alive.
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The Contested Crown
Repatriation Politics between Europe and Mexico
Khadija von Zinnenburg Carroll
University of Chicago Press, 2022
Following conflicting desires for an Aztec crown, this book explores the possibilities of repatriation.
In The Contested Crown, Khadija von Zinnenburg Carroll meditates on the case of a spectacular feather headdress believed to have belonged to Montezuma, the last emperor of the Aztecs. This crown has long been the center of political and cultural power struggles, and it is one of the most contested museum claims between Europe and the Americas. Taken to Europe during the conquest of Mexico, it was placed at Ambras Castle, the Habsburg residence of the author’s ancestors, and is now in Vienna’s Welt Museum. Mexico has long requested to have it back, but the Welt Museum uses science to insist it is too fragile to travel.
Both the biography of a cultural object and a history of collecting and colonizing, this book offers an artist’s perspective on the creative potentials of repatriation. Carroll compares Holocaust and colonial ethical claims, and she considers relationships between indigenous people, international law and the museums that amass global treasures, the significance of copies, and how conservation science shapes collections. Illustrated with diagrams and rare archival material, this book brings together global history, European history, and material culture around this fascinating object and the debates about repatriation.
In The Contested Crown, Khadija von Zinnenburg Carroll meditates on the case of a spectacular feather headdress believed to have belonged to Montezuma, the last emperor of the Aztecs. This crown has long been the center of political and cultural power struggles, and it is one of the most contested museum claims between Europe and the Americas. Taken to Europe during the conquest of Mexico, it was placed at Ambras Castle, the Habsburg residence of the author’s ancestors, and is now in Vienna’s Welt Museum. Mexico has long requested to have it back, but the Welt Museum uses science to insist it is too fragile to travel.
Both the biography of a cultural object and a history of collecting and colonizing, this book offers an artist’s perspective on the creative potentials of repatriation. Carroll compares Holocaust and colonial ethical claims, and she considers relationships between indigenous people, international law and the museums that amass global treasures, the significance of copies, and how conservation science shapes collections. Illustrated with diagrams and rare archival material, this book brings together global history, European history, and material culture around this fascinating object and the debates about repatriation.
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The Cosmos Revealed
Precontact Mississippian Rock Art at Painted Bluff, Alabama
By Jan F. Simek, Erin E. Dunsmore, Johannes Loubser, and Sierra M. Bow
University of Alabama Press, 2021
The definitive rock art book on Painted Bluff, Alabama
Boasting more than 130 paintings and engravings, Painted Bluff is perhaps the most elaborate prehistoric pictograph site east of the Mississippi River. Positioned at several levels on a dramatic sandstone cliff along the Tennessee River in northern Alabama, the spectacular paintings and engravings depict mythical creatures, dancing humans, and mystical portals. The Cosmos Revealed: Precontact Mississippian Rock Art at Painted Bluff, Alabama is the first complete documentation of one of the most important archaeological sites in eastern North America. Through art, the site materializes a model or “cosmogram” of the Mississippian Native American view of the universe, offering connections between the visible and invisible worlds for Native spiritual leaders and other visitors.
Discovered by Euro-Americans in the early 1800s, the site became known as “Painted Bluff” because of its pictographs, but inexplicably it has only recently been subjected to the intensive archaeological study it deserves. Under the auspices of the Tennessee Valley Authority (TVA), the authors of this volume have documented and assessed the site since 2005, and efforts have been made to reverse some of the vandalism that has occurred over many decades and to stabilize natural degradation of the cliff and its artwork.
Including more than one hundred remarkable prehistoric paintings on the cliff face that have been recorded, mapped, and photographed, this book synthesizes the research done on Painted Bluff to date and documents the entire site. Richly illustrated chapters cover the historical background, geology and archaeology, documentation methods, types of rock art, stratigraphy, paint recipes, TVA management, graffiti removal, and a summary that broadly synthesizes the meaning, timeframe, artistry, organization, conceptual boundaries, and the cosmos revealed. This groundbreaking study features 113 color photographs and a complete catalog of the pictographs and petroglyphs at the site.
Boasting more than 130 paintings and engravings, Painted Bluff is perhaps the most elaborate prehistoric pictograph site east of the Mississippi River. Positioned at several levels on a dramatic sandstone cliff along the Tennessee River in northern Alabama, the spectacular paintings and engravings depict mythical creatures, dancing humans, and mystical portals. The Cosmos Revealed: Precontact Mississippian Rock Art at Painted Bluff, Alabama is the first complete documentation of one of the most important archaeological sites in eastern North America. Through art, the site materializes a model or “cosmogram” of the Mississippian Native American view of the universe, offering connections between the visible and invisible worlds for Native spiritual leaders and other visitors.
Discovered by Euro-Americans in the early 1800s, the site became known as “Painted Bluff” because of its pictographs, but inexplicably it has only recently been subjected to the intensive archaeological study it deserves. Under the auspices of the Tennessee Valley Authority (TVA), the authors of this volume have documented and assessed the site since 2005, and efforts have been made to reverse some of the vandalism that has occurred over many decades and to stabilize natural degradation of the cliff and its artwork.
Including more than one hundred remarkable prehistoric paintings on the cliff face that have been recorded, mapped, and photographed, this book synthesizes the research done on Painted Bluff to date and documents the entire site. Richly illustrated chapters cover the historical background, geology and archaeology, documentation methods, types of rock art, stratigraphy, paint recipes, TVA management, graffiti removal, and a summary that broadly synthesizes the meaning, timeframe, artistry, organization, conceptual boundaries, and the cosmos revealed. This groundbreaking study features 113 color photographs and a complete catalog of the pictographs and petroglyphs at the site.
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Códice Maya de México
Understanding the Oldest Surviving Book of the Americas
Andrew D. Turner
J. Paul Getty Trust, The, 2022
An in-depth exploration of the history, authentication, and modern relevance of Códice Maya de México, the oldest surviving book of the Americas.
Ancient Maya scribes recorded prophecies and astronomical observations on the pages of painted books. Although most were lost to decay or destruction, three pre-Hispanic Maya codices were known to have survived, when, in the 1960s, a fourth book that differed from the others appeared in Mexico under mysterious circumstances. After fifty years of debate over its authenticity, recent investigations using cutting-edge scientific and art historical analyses determined that Códice Maya de México (formerly known as Grolier Codex) is in fact the oldest surviving book of the Americas, predating all others by at least two hundred years.
This volume provides a multifaceted introduction to the creation, discovery, interpretation, and scientific authentication of Códice Maya de México. In addition, a full-color facsimile and a page-by-page guide to the iconography make the codex accessible to a wide audience. Additional topics include the uses and importance of sacred books in Mesoamerica, the role of astronomy in ancient Maya societies, and the codex's continued relevance to contemporary Maya communities.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 18, 2022, to January 15, 2023.
Ancient Maya scribes recorded prophecies and astronomical observations on the pages of painted books. Although most were lost to decay or destruction, three pre-Hispanic Maya codices were known to have survived, when, in the 1960s, a fourth book that differed from the others appeared in Mexico under mysterious circumstances. After fifty years of debate over its authenticity, recent investigations using cutting-edge scientific and art historical analyses determined that Códice Maya de México (formerly known as Grolier Codex) is in fact the oldest surviving book of the Americas, predating all others by at least two hundred years.
This volume provides a multifaceted introduction to the creation, discovery, interpretation, and scientific authentication of Códice Maya de México. In addition, a full-color facsimile and a page-by-page guide to the iconography make the codex accessible to a wide audience. Additional topics include the uses and importance of sacred books in Mesoamerica, the role of astronomy in ancient Maya societies, and the codex's continued relevance to contemporary Maya communities.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 18, 2022, to January 15, 2023.
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Edgar Heap of Birds
Bill Anthes
Duke University Press, 2015
For over three decades, contemporary Native American artist Hock E Aye Vi Edgar Heap of Birds has pursued a disciplined practice in multiple media, having shown his paintings, drawings, prints, and text-based conceptual art throughout numerous national and international galleries and public spaces. In the first book-length study of this important artist, Bill Anthes analyzes Heap of Birds's art and politics in relation to the international contemporary art scene, Native American history, and settler colonialism. Foregrounding how Heap of Birds roots his practice in Cheyenne spirituality and an indigenous way of seeing and being in the world, Anthes describes how Heap of Birds likens his art to "sharp rocks"—weapons delivering trenchant critiques of the loss of land, life, and autonomy endured by Native Americans. Whether appearing as interventions in public spaces or in a gallery, Heap of Birds's carefully honed artworks pose questions about time, modernity, identity, power, and the meaning and value of contemporary art in a global culture.
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George A. Kubler and the Shape of Art History
Thomas F. Reese
J. Paul Getty Trust, The
An illuminating intellectual biography of a pioneering and singular figure in American art history.
Art historian George A. Kubler (1912–1996) was a foundational scholar of ancient American art and archaeology as well as Spanish and Portuguese architecture. During over five decades at Yale University, he published seventeen books that included innovative monographs, major works of synthesis, and an influential theoretical treatise. In this biography, Thomas F. Reese analyzes the early formation, broad career, and writings of Kubler, casting nuanced light on the origins and development of his thinking.
Notable in Reese’s discussion and contextualization of Kubler’s writings is a revealing history and analysis of his Shape of Time—a book so influential to students, scholars, artists, and curious readers in multiple disciplines that it has been continuously in print since 1962. Reese reveals how pivotal its ideas were in Kubler’s own thinking: rather than focusing on problems of form as an ordering principle, he increasingly came to sequence works by how they communicate meaning. The author demonstrates how Kubler, who professed to have little interest in theory, devoted himself to the craft of art history, discovering and charting the rules that guided the propagation of structure and significance through time.
Art historian George A. Kubler (1912–1996) was a foundational scholar of ancient American art and archaeology as well as Spanish and Portuguese architecture. During over five decades at Yale University, he published seventeen books that included innovative monographs, major works of synthesis, and an influential theoretical treatise. In this biography, Thomas F. Reese analyzes the early formation, broad career, and writings of Kubler, casting nuanced light on the origins and development of his thinking.
Notable in Reese’s discussion and contextualization of Kubler’s writings is a revealing history and analysis of his Shape of Time—a book so influential to students, scholars, artists, and curious readers in multiple disciplines that it has been continuously in print since 1962. Reese reveals how pivotal its ideas were in Kubler’s own thinking: rather than focusing on problems of form as an ordering principle, he increasingly came to sequence works by how they communicate meaning. The author demonstrates how Kubler, who professed to have little interest in theory, devoted himself to the craft of art history, discovering and charting the rules that guided the propagation of structure and significance through time.
[more]
The Headpots of Northeast Arkansas and Southern Pemiscot County, Missouri
James F. Cherry
University of Arkansas Press, 2009
In 1981, James F. Cherry embarked on what evolved into a passionate, personal quest to identify and document all the known headpots of Mississippian Indian culture from northeast Arkansas and the bootheel region of southeast Missouri. Produced by two groups the Spanish called the Casqui and Pacaha and dating circa AD 1400–1700, headpots occur, with few exceptions, only in a small region of Arkansas and Missouri. Relatively little is known about these headpots: did they portray kinsmen or enemies, the living or the dead or were they used in ceremonies, in everyday life, or exclusively for the sepulcher? Cherry’s decades of research have culminated in the lavishly illustrated The Headpots of Northeast Arkansas and Southern Pemiscot County, Missouri, a fascinating, comprehensive catalog of 138 identified classical style headpots and an invaluable resource for understanding the meaning of these remarkable ceramic vessels.
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Hidden Thunder
Rock Art of the Upper Midwest
Geri Schrab
Wisconsin Historical Society Press, 2016
In Hidden Thunder, renowned watercolor artist Geri Schrab and archaeologist Robert "Ernie" Boszhardt give readers an up-close-and-personal look at rock art. With an eye toward preservation, Schrab and Boszhardt take you with them as they research, document, and interpret at the ancient petroglyphs and pictographs made my Native Americans in past millennia. In addition to publicly accessible sites such as Wisconsin’s Roche-a-Cri State Park and Minnesota’s Jeffers Petroglyphs, Hidden Thunder covers the artistic treasures found at several remote and inaccessible rock art sites—revealing the ancient stories through words, full-color photographs, and artistic renditions.
Offering the duo perspectives of scientist and artist, Boszhardt shares the facts that archaeologists have been able to establish about these important artifacts of our early history, while Schrab offers the artist's experience, describing her emotional and creative response upon encountering and painting these sites. Viewpoints by members of the Menominee, Ho-Chunk, Ojibwe, and other Native nations offer additional insight on the historic and cultural significance of these sites. Together these myriad voices reveal layers of meaning and cultural context that emphasize why these fragile resources—often marred by human graffiti and mishandling or damage from the elements—need to be preserved.
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Home Before the Raven Caws
Richard Feldman
Indiana Historical Society Press, 2012
In 1903 Alaska governor John Brady collected fifteen old totem poles for preservation at Stika National Historical Park, creating one of the most famous collections of totem poles in the world. One pole became separated, and its fate remained a mystery for nearly ninety years. This revised edition of Home before the Raven Caws unravels the mystery of that missing pole from the Brady collection. The old Alaskan pole found its way to Indiana over a hundred years ago. A new version of the pole stands today at the Eiteljorg Museum of American Indians and Western Art in Indianapolis. The first portion of the book serves as a general primer of the history and cultural significance, identification, carving, and raising of totem poles.
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Hopi Basket Weaving
Artistry in Natural Fibers
Helga Teiwes
University of Arizona Press, 1996
"With the inborn wisdom that has guided them for so long through so many obstacles, Hopi men and women perpetuate their proven rituals, strongly encouraging those who attempt to neglect or disrespect their obligations to uphold them. One of these obligations is to respect the flora and fauna of our planet. The Hopi closeness to the Earth is represented in all the arts of all three mesas, whether in clay or natural fibers. What clay is to a potter's hands, natural fibers are to a basket weaver." —from the Introduction
Rising dramatically from the desert floor, Arizona's windswept mesas have been home to the Hopis for hundreds of years. A people known for protecting their privacy, these Native Americans also have a long and less known tradition of weaving baskets and plaques. Generations of Hopi weavers have passed down knowledge of techniques and materials from the plant world around them, from mother to daughter, granddaughter, or niece.
This book is filled with photographs and detailed descriptions of their beautiful baskets—the one art, above all others, that creates the strongest social bonds in Hopi life. In these pages, weavers open their lives to the outside world as a means of sharing an art form especially demanding of time and talent. The reader learns how plant materials are gathered in canyons and creek bottoms, close to home and far away. The long, painstaking process of preparation and dying is followed step by step. Then, using techniques of coiled, plaited, or wicker basketry, the weaving begins.
Underlying the stories of baskets and their weavers is a rare glimpse of what is called "the Hopi Way," a life philosophy that has strengthened and sustained the Hopi people through centuries of change. Many other glimpses of the Hopi world are also shared by author and photographer Helga Teiwes, who was warmly invited into the homes of her collaborators. Their permission and the permission of the Cultural Preservation Office of the Hopi Tribe gave her access to people and information seldom available to outsiders.
Teiwes was also granted access to some of the ceremonial observances where baskets are preeminent. Woven in brilliant reds, greens, and yellows as well as black and white, Hopi weavings, then, not only are an arresting art form but also are highly symbolic of what is most important in Hopi life. In the women's basket dance, for example, woven plaques commemorate and honor the Earth and the perpetuation of life. Other plaques play a role in the complicated web of Hopi social obligation and reciprocity.
Living in a landscape of almost surreal form and color, Hopi weavers are carrying on one of the oldest arts traditions in the world. Their stories in Hopi Basket Weaving will appeal to collectors, artists and craftspeople, and anyone with an interest in Native American studies, especially Native American arts. For the traveler or general reader, the book is an invitation to enter a little-known world and to learn more about an art form steeped in meaning and stunning in its beauty.
Rising dramatically from the desert floor, Arizona's windswept mesas have been home to the Hopis for hundreds of years. A people known for protecting their privacy, these Native Americans also have a long and less known tradition of weaving baskets and plaques. Generations of Hopi weavers have passed down knowledge of techniques and materials from the plant world around them, from mother to daughter, granddaughter, or niece.
This book is filled with photographs and detailed descriptions of their beautiful baskets—the one art, above all others, that creates the strongest social bonds in Hopi life. In these pages, weavers open their lives to the outside world as a means of sharing an art form especially demanding of time and talent. The reader learns how plant materials are gathered in canyons and creek bottoms, close to home and far away. The long, painstaking process of preparation and dying is followed step by step. Then, using techniques of coiled, plaited, or wicker basketry, the weaving begins.
Underlying the stories of baskets and their weavers is a rare glimpse of what is called "the Hopi Way," a life philosophy that has strengthened and sustained the Hopi people through centuries of change. Many other glimpses of the Hopi world are also shared by author and photographer Helga Teiwes, who was warmly invited into the homes of her collaborators. Their permission and the permission of the Cultural Preservation Office of the Hopi Tribe gave her access to people and information seldom available to outsiders.
Teiwes was also granted access to some of the ceremonial observances where baskets are preeminent. Woven in brilliant reds, greens, and yellows as well as black and white, Hopi weavings, then, not only are an arresting art form but also are highly symbolic of what is most important in Hopi life. In the women's basket dance, for example, woven plaques commemorate and honor the Earth and the perpetuation of life. Other plaques play a role in the complicated web of Hopi social obligation and reciprocity.
Living in a landscape of almost surreal form and color, Hopi weavers are carrying on one of the oldest arts traditions in the world. Their stories in Hopi Basket Weaving will appeal to collectors, artists and craftspeople, and anyone with an interest in Native American studies, especially Native American arts. For the traveler or general reader, the book is an invitation to enter a little-known world and to learn more about an art form steeped in meaning and stunning in its beauty.
[more]
Husk of Time
The Photographs of Victor Masayesva
Victor Masayesva, Jr.; Introduction by Beverly R. Singer
University of Arizona Press, 2006
Photographer and filmmaker Victor Masayesva, Jr., was raised in the Hopi village of Hotevilla and was educated at the Horace Mann School in New York, Princeton University, and the University of Arizona. His immersion in photographic experimentation embraces a projection of stories and symbols, natural objects, and locations both at Hopi and worldwide. His work has been exhibited internationally, and he is perhaps best known for his feature-length film Imagining Indians. For Masayesva, photography is a discipline that he approaches in a manner similar to the way that he was taught about himself and his clan identity. As he navigates his personal associations with Hopi subject matter in varied investigations of biology, ecology, humanity, history, planetary energy, places remembered, and musings on things broken and whole, he has created an extraordinary visual cosmography. In this compilation of his photographic journey, Masayesva presents some of the most important and vibrant images of that visual quest and reflects on them in provocative essays.
[more]
The Indian Craze
Primitivism, Modernism, and Transculturation in American Art, 1890–1915
Elizabeth Hutchinson
Duke University Press, 2009
In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.
Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.
[more]
Indians Playing Indian
Multiculturalism and Contemporary Indigenous Art in North America
Monika Siebert
University of Alabama Press, 2015
Explores how American Indian artists have responded to the pervasive misunderstanding of indigenous peoples as cultural minorities in the United States and Canada
Contemporary indigenous peoples in North America confront a unique predicament. While they are reclaiming their historic status as sovereign nations, mainstream popular culture continues to depict them as cultural minorities similar to other ethnic Americans. These depictions of indigenous peoples as “Native Americans” complete the broader narrative of America as a refuge to the world’s immigrants and a home to contemporary multicultural democracies, such as the United States and Canada. But they fundamentally misrepresent indigenous peoples, whose American history has been not of immigration but of colonization.
Monika Siebert’s Indians Playing Indian first identifies this phenomenon as multicultural misrecognition, explains its sources in North American colonial history and in the political mandates of multiculturalism, and describes its consequences for contemporary indigenous cultural production. It then explores the responses of indigenous artists who take advantage of the ongoing popular interest in Native American culture and art while offering narratives of the political histories of their nations in order to resist multicultural incorporation.
Each chapter of Indians Playing Indian showcases a different medium of contemporary indigenous art—museum exhibition, cinema, digital fine art, sculpture, multimedia installation, and literary fiction—and explores specific rhetorical strategies artists deploy to forestall multicultural misrecognition and recover political meanings of indigeneity. The sites and artists discussed include the National Museum of the American Indian in Washington, DC; filmmakers at Inuit Isuma Productions; digital artists/photographers Dugan Aguilar, Pamela Shields, and Hulleah Tsinhnahjinnie; sculptor Jimmie Durham; and novelist LeAnne Howe.
Contemporary indigenous peoples in North America confront a unique predicament. While they are reclaiming their historic status as sovereign nations, mainstream popular culture continues to depict them as cultural minorities similar to other ethnic Americans. These depictions of indigenous peoples as “Native Americans” complete the broader narrative of America as a refuge to the world’s immigrants and a home to contemporary multicultural democracies, such as the United States and Canada. But they fundamentally misrepresent indigenous peoples, whose American history has been not of immigration but of colonization.
Monika Siebert’s Indians Playing Indian first identifies this phenomenon as multicultural misrecognition, explains its sources in North American colonial history and in the political mandates of multiculturalism, and describes its consequences for contemporary indigenous cultural production. It then explores the responses of indigenous artists who take advantage of the ongoing popular interest in Native American culture and art while offering narratives of the political histories of their nations in order to resist multicultural incorporation.
Each chapter of Indians Playing Indian showcases a different medium of contemporary indigenous art—museum exhibition, cinema, digital fine art, sculpture, multimedia installation, and literary fiction—and explores specific rhetorical strategies artists deploy to forestall multicultural misrecognition and recover political meanings of indigeneity. The sites and artists discussed include the National Museum of the American Indian in Washington, DC; filmmakers at Inuit Isuma Productions; digital artists/photographers Dugan Aguilar, Pamela Shields, and Hulleah Tsinhnahjinnie; sculptor Jimmie Durham; and novelist LeAnne Howe.
[more]
Kachina Dolls
The Art of Hopi Carvers
Helga Teiwes
University of Arizona Press, 1991
Much has been written about the popular kachina dolls carved by the Hopi Indians of northern Arizona, but little has been revealed about the artistry behind them. Now Helga Teiwes describes the development of this art form from early traditional styles to the action-style kachina dolls made popular in galleries throughout the world, and on to the kachina sculptures that have evolved in the last half of the 1980s.
Teiwes explains the role of the Katsina spirit in Hopi religion and that of the kachina doll—the carved representation of a Katsina—in the ritual and economic life of the Hopis. In tracing the history of the kachina doll in Hopi culture, she shows how these wooden figures have changed since carvers came to be influenced by their marketability among Anglos and how their carving has been characterized by increasingly refined techniques. Unique to this book are Teiwes's description of the most recent trends in kachina doll carving and her profiles of twenty-seven modern carvers, including such nationally known artists as Alvin James Makya and Cecil Calnimptewa. Enhancing the text are more than one hundred photographs, including twenty-five breathtaking color plates that bring to life the latest examples of this popular art form.
Teiwes explains the role of the Katsina spirit in Hopi religion and that of the kachina doll—the carved representation of a Katsina—in the ritual and economic life of the Hopis. In tracing the history of the kachina doll in Hopi culture, she shows how these wooden figures have changed since carvers came to be influenced by their marketability among Anglos and how their carving has been characterized by increasingly refined techniques. Unique to this book are Teiwes's description of the most recent trends in kachina doll carving and her profiles of twenty-seven modern carvers, including such nationally known artists as Alvin James Makya and Cecil Calnimptewa. Enhancing the text are more than one hundred photographs, including twenty-five breathtaking color plates that bring to life the latest examples of this popular art form.
[more]
A Lakota War Book from the Little Bighorn
The Pictographic "Autobiography of Half Moon"
Castle McLaughlin
Harvard University Press, 2013
Houghton Library and Harvard’s Peabody Museum Press collaborated on the publication of this fourth volume in the Houghton Library Studies series, an innovative cultural analysis of the extraordinary composite document known as “The Pictographic Autobiography of Half Moon, an Unkpapa Sioux Chief.” At its core is a nineteenth-century ledger book of drawings by Lakota Sioux warriors found in 1876 in a funerary tipi on the Little Bighorn battlefield after Custer’s defeat. Journalist Phocion Howard later added an illustrated introduction and had it bound into the beautiful manuscript that is reproduced in complete color facsimile here.
Howard attributed all seventy-seven Native drawings to a “chief” named Half Moon, but anthropologist Castle McLaughlin demonstrates that these dramatic scenes, mostly of war exploits, were drawn by at least six different warrior-artists. Their vivid first-person depictions make up a rare Native American record of historic events that likely occurred between 1866 and 1868 during Red Cloud’s War along the Bozeman Trail.
McLaughlin probes the complex life history of this unique artifact of cross-cultural engagement, uncovering its origins, ownership, and cultural and historic significance, and compares it with other early ledger books. Examining how allied Lakota and Cheyenne warriors valued these graphic records of warfare as both objects and images, she introduces the concept of “war books”—documents that were captured and altered by Native warrior-artists to appropriate the strategic power of Euroamerican literacy.
[more]
Landscapes of Origin in the Americas
Creation Narratives Linking Ancient Places and Present Communities
Edited and with an introduction by Jessica Joyce Christie
University of Alabama Press, 2009
Landscape is a powerful factor in the operation of memory because of the associations narrators make between the local landscape and the events of the stories they tell. Ancestors and mythological events often become fixed in a specific landscape and act as timeless reference points.
In conventional anthropological literature, "landscape" is the term applied to the meaning local people bestow on their cultural and physical surroundings. In this work, the authors explore the cultural and physical landscapes an individual or cultural group has constructed to define the origins or beginnings of that cultural group as revealed through shared or traditional memory. The cultural landscapes of origins in diverse sites throughout the Americas are investigated through multidisciplinary research, not only to reveal the belief system and mythologies but also to place these origin beliefs in context and relationship to each other. In a continual interaction between the past, present, and future, time is subordinate to place, and history, as defined in Western academic terms, does not exist.
In conventional anthropological literature, "landscape" is the term applied to the meaning local people bestow on their cultural and physical surroundings. In this work, the authors explore the cultural and physical landscapes an individual or cultural group has constructed to define the origins or beginnings of that cultural group as revealed through shared or traditional memory. The cultural landscapes of origins in diverse sites throughout the Americas are investigated through multidisciplinary research, not only to reveal the belief system and mythologies but also to place these origin beliefs in context and relationship to each other. In a continual interaction between the past, present, and future, time is subordinate to place, and history, as defined in Western academic terms, does not exist.
[more]
Legible Sovereignties
Rhetoric, Representations, and Native American Museums
Lisa King
Oregon State University Press, 2017
An interdisciplinary work that draws on the fields of rhetorical studies, Native American and Indigenous studies, and museum studies, Legible Sovereignties considers the creation, critical reception, and adaptation of Indigenous self-representation in three diverse Indigenously oriented or owned institutions.
King tracks the exhibit spaces at the Saginaw Chippewa Indian Tribe of Michigan’s Ziibiwing Center, Haskell Indian Nation University’s Cultural Center and Museum, and the Smithsonian’s Washington, DC branch of the National Museum of the American Indian over their first ten years, from their opening until the summer of 2014. Far from formulaic, each site has developed its own rhetorical approaches to reaching its public, revealing multiple challenges and successes in making Native self-representation legible and accessible.
Through documentation and analysis of the inaugural exhibits and recent installations, interviews with curators and staff, and investigation into audience reception of these spaces, Legible Sovereignties argues that there can be no single blanket solution for effective Indigenous self-representation. Instead, Legible Sovereignties demonstrates the nuanced ways in which each site must balance its rhetorical goals and its audience's needs, as well as its material constraints and opportunities, in order to reach its visitors and have Indigenous voices heard.
King tracks the exhibit spaces at the Saginaw Chippewa Indian Tribe of Michigan’s Ziibiwing Center, Haskell Indian Nation University’s Cultural Center and Museum, and the Smithsonian’s Washington, DC branch of the National Museum of the American Indian over their first ten years, from their opening until the summer of 2014. Far from formulaic, each site has developed its own rhetorical approaches to reaching its public, revealing multiple challenges and successes in making Native self-representation legible and accessible.
Through documentation and analysis of the inaugural exhibits and recent installations, interviews with curators and staff, and investigation into audience reception of these spaces, Legible Sovereignties argues that there can be no single blanket solution for effective Indigenous self-representation. Instead, Legible Sovereignties demonstrates the nuanced ways in which each site must balance its rhetorical goals and its audience's needs, as well as its material constraints and opportunities, in order to reach its visitors and have Indigenous voices heard.
[more]
Mapping Modernisms
Art, Indigeneity, Colonialism
Elizabeth Harney and Ruth B. Phillips, editors
Duke University Press, 2018
Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world.
Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano
Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano
[more]
A Maya Universe in Stone
Stephen Houston
J. Paul Getty Trust, The, 2021
The first study devoted to a single sculptor in ancient America, as understood through four unprovenanced masterworks traced to a small sector of Guatemala.
In 1950, Dana Lamb, an explorer of some notoriety, stumbled on a Maya ruin in the tropical forests of northern Guatemala. Lamb failed to record the location of the site he called Laxtunich, turning his find into the mystery at the center of this book. The lintels he discovered there, long since looted, are probably of a set with two others that are among the masterworks of Maya sculpture from the Classic period. Using fieldwork, physical evidence, and Lamb’s expedition notes, the authors identify a small area with archaeological sites where the carvings were likely produced.
Remarkably, the vividly colored lintels, replete with dynastic and cosmic information, can be assigned to a carver, Mayuy, who sculpted his name on two of them. To an extent nearly unique in ancient America, Mayuy can be studied over time as his style developed and his artistic ambition grew. An in-depth analysis of Laxtunich Lintel 1 examines how Mayuy grafted celestial, seasonal, and divine identities onto a local magnate and his overlord from the kingdom of Yaxchilan, Mexico. This volume contextualizes the lintels and points the way to their reprovenancing and, as an ultimate aim, repatriation to Guatemala.
In 1950, Dana Lamb, an explorer of some notoriety, stumbled on a Maya ruin in the tropical forests of northern Guatemala. Lamb failed to record the location of the site he called Laxtunich, turning his find into the mystery at the center of this book. The lintels he discovered there, long since looted, are probably of a set with two others that are among the masterworks of Maya sculpture from the Classic period. Using fieldwork, physical evidence, and Lamb’s expedition notes, the authors identify a small area with archaeological sites where the carvings were likely produced.
Remarkably, the vividly colored lintels, replete with dynastic and cosmic information, can be assigned to a carver, Mayuy, who sculpted his name on two of them. To an extent nearly unique in ancient America, Mayuy can be studied over time as his style developed and his artistic ambition grew. An in-depth analysis of Laxtunich Lintel 1 examines how Mayuy grafted celestial, seasonal, and divine identities onto a local magnate and his overlord from the kingdom of Yaxchilan, Mexico. This volume contextualizes the lintels and points the way to their reprovenancing and, as an ultimate aim, repatriation to Guatemala.
[more]
Michael Chiago
O’odham Lifeways Through Art
Paintings by Michael Chiago Sr. Text by Amadeo M. Rea
University of Arizona Press, 2022
This book offers an artistic depiction of O’odham lifeways through the paintings of internationally acclaimed O’odham artist Michael Chiago Sr. Ethnobiologist Amadeo M. Rea collaborated with the artist to describe the paintings in accompanying text, making this unique book a vital resource for cultural understanding and preservation. A joint effort in seeing, this work explores how the artist sees and interprets his culture through his art.
A wide array of Chiago’s paintings are represented in this book, illustrating past and present Akimel O’odham and Tohono O’odham culture. The paintings show the lives and traditions of O’odham people from both the artist’s parents’ and grandparents’ generations and today. The paintings demonstrate the colonial Spanish, Mexican, and Anglo-American influences on O’odham culture throughout the decades, and the text explains how wells and windmills, schools, border walls, and nonnative crops have brought about significant change in O’odham life. The paintings and text in this book beautifully depict a variety of O’odham lifeways, including the striking Sonoran Desert environment of O’odham country, gathering local foods and cooking meals, shrines, ceremonies, dances, and more.
By combining Chiago’s paintings of his lived experiences with Rea’s ethnographic work, this book offers a full, colorful, and powerful picture of O’odham heritage, culture, and language, creating a teaching reference for future generations.
A wide array of Chiago’s paintings are represented in this book, illustrating past and present Akimel O’odham and Tohono O’odham culture. The paintings show the lives and traditions of O’odham people from both the artist’s parents’ and grandparents’ generations and today. The paintings demonstrate the colonial Spanish, Mexican, and Anglo-American influences on O’odham culture throughout the decades, and the text explains how wells and windmills, schools, border walls, and nonnative crops have brought about significant change in O’odham life. The paintings and text in this book beautifully depict a variety of O’odham lifeways, including the striking Sonoran Desert environment of O’odham country, gathering local foods and cooking meals, shrines, ceremonies, dances, and more.
By combining Chiago’s paintings of his lived experiences with Rea’s ethnographic work, this book offers a full, colorful, and powerful picture of O’odham heritage, culture, and language, creating a teaching reference for future generations.
[more]
Nampeyo and Her Pottery
Barbara Kramer
University of Arizona Press, 1996
At the beginning of the twentieth century, Hopi-Tewa potter Nampeyo revitalized Hopi pottery by creating a contemporary style inspired by prehistoric ceramics. Nampeyo (ca. 1860-1942) made clay pots at a time when her people had begun using manufactured vessels, and her skill helped convert pottery-making from a utilitarian process to an art form. The only potter known by name from that era, her work was unsigned and widely collected. Travel brochures on the Southwest featured her work, and in 1905 and 1907 she was a potter in residence at Grand Canyon National Park's Hopi House. This first biography of the influential artist is a meticulously researched account of Nampeyo's life and times. Barbara Kramer draws on historical documents and comments by family members not only to reconstruct Nampeyo's life but also to create a composite description of her pottery-making process, from gathering clay through coiling, painting, and firing. The book also depicts changes brought about on the Hopi reservation by outsiders and the response of American society to Native American arts.
[more]
Native Moderns
American Indian Painting, 1940–1960
Bill Anthes
Duke University Press, 2006
Between 1940 and 1960, many Native American artists made bold departures from what was considered the traditional style of Indian painting. They drew on European and other non-Native American aesthetic innovations to create hybrid works that complicated notions of identity, authenticity, and tradition. This richly illustrated volume focuses on the work of these pioneering Native artists, including Pueblo painters José Lente and Jimmy Byrnes, Ojibwe painters Patrick DesJarlait and George Morrison, Cheyenne painter Dick West, and Dakota painter Oscar Howe. Bill Anthes argues for recognizing the transformative work of these Native American artists as distinctly modern, and he explains how bringing Native American modernism to the foreground rewrites the broader canon of American modernism.
In the mid-twentieth century, Native artists began to produce work that reflected the accelerating integration of Indian communities into the national mainstream as well as, in many instances, their own experiences beyond Indian reservations as soldiers or students. During this period, a dynamic exchange among Native and non-Native collectors, artists, and writers emerged. Anthes describes the roles of several anthropologists in promoting modern Native art, the treatment of Native American “Primitivism” in the writing of the Jewish American critic and painter Barnett Newman, and the painter Yeffe Kimball’s brazen appropriation of a Native identity. While much attention has been paid to the inspiration Native American culture provided to non-Native modern artists, Anthes reveals a mutual cross-cultural exchange that enriched and transformed the art of both Natives and non-Natives.
[more]
Navajo Beadwork
Architectures of Light
Ellen K. Moore
University of Arizona Press, 2003
Sunset. Fire. Rainbow. Drawing on such common occurrences of light, Navajo artists have crafted an uncommon array of design in colored glass beads. Beadwork is an art form introduced to the Navajos through other Indian and Euro-American contacts, but it is one that they have truly made their own. More than simple crafts, Navajo beaded designs are architectures of light.
Ellen Moore has written the first history of Navajo beadwork—belts and hatbands, baskets and necklaces—in a book that examines both the influence of Navajo beliefs in the creation of this art and the primacy of light and color in Navajo culture. Navajo Beadwork: Architectures of Light traces the evolution of the art as explained by traders, Navajo consultants, and Navajo beadworkers themselves. It also shares the visions, words, and art of 23 individual artists to reveal the influences on their creativity and show how they go about creating their designs.
As Moore reveals, Navajo beadwork is based on an aggregate of beliefs, categories, and symbols that are individually interpreted and transposed into beaded designs. Most designs are generated from close observation of light in the natural world, then structured according to either Navajo tradition or the newer spirituality of the Native American Church. For many beadworkers, creating designs taps deeply embedded beliefs so that beaded objects reflect their thoughts and prayers, their aesthetic sensibilities, and their sense of being Navajo—but above all, their attention to light and its properties.
No other book offers such an intimate view of this creative process, and its striking color plates attest to the wondrous results. Navajo Beadwork: Architectures of Light is a valuable record of ethnographic research and a rich source of artistic insight for lovers of beadwork and Native American art.
Ellen Moore has written the first history of Navajo beadwork—belts and hatbands, baskets and necklaces—in a book that examines both the influence of Navajo beliefs in the creation of this art and the primacy of light and color in Navajo culture. Navajo Beadwork: Architectures of Light traces the evolution of the art as explained by traders, Navajo consultants, and Navajo beadworkers themselves. It also shares the visions, words, and art of 23 individual artists to reveal the influences on their creativity and show how they go about creating their designs.
As Moore reveals, Navajo beadwork is based on an aggregate of beliefs, categories, and symbols that are individually interpreted and transposed into beaded designs. Most designs are generated from close observation of light in the natural world, then structured according to either Navajo tradition or the newer spirituality of the Native American Church. For many beadworkers, creating designs taps deeply embedded beliefs so that beaded objects reflect their thoughts and prayers, their aesthetic sensibilities, and their sense of being Navajo—but above all, their attention to light and its properties.
No other book offers such an intimate view of this creative process, and its striking color plates attest to the wondrous results. Navajo Beadwork: Architectures of Light is a valuable record of ethnographic research and a rich source of artistic insight for lovers of beadwork and Native American art.
[more]
Navajo Textiles
The Crane Collection at the Denver Museum of Nature and Science
Laurie D. Webster
University Press of Colorado, 2017
Navajo Textiles provides a nuanced account the Navajo weavings in the Crane Collection at the Denver Museum of Nature & Science—one of the largest collections of Navajo textiles in the world. Bringing together the work of anthropologists and indigenous artists, the book explores the Navajo rug trade in the mid-nineteenth century and changes in the Navajo textile market while highlighting the museum’s important, though still relatively unknown, collection of Navajo textiles.
In this unique collaboration among anthropologists, museums, and Navajo weavers, the authors provide a narrative of the acquisition of the Crane Collection and a history of Navajo weaving. Personal reflections and insights from foremost Navajo weavers D. Y. Begay and Lynda Teller Pete are also featured, and more than one hundred stunning full-color photographs of the textiles in the collection are accompanied by technical information about the materials and techniques used in their creation. An introduction by Ann Lane Hedlund documents the growing collaboration between Navajo weavers and museums in Navajo textile research.
The legacy of Navajo weaving is complex and intertwined with the history of the Diné themselves. Navajo Textiles makes the history and practice of Navajo weaving accessible to an audience of scholars and laypeople both within and outside the Diné community.
[more]
Navajo Textiles
The William Randolph Hearst Collection
Nancy J. Blomberg
University of Arizona Press, 1988
William Randolph Hearst's collection of Navajo textiles is one of the most complete gatherings of nineteenth-century Navajo weaving in the world. Comprising dozens of Classic Period serapes, chief blankets, Germantown eyedazzlers, and turn-of-the-century rugs, the 185-piece collection was donated to the Los Angeles County Museum of Natural History in 1942 but for the next forty years was known only to a handful of scholars. Hearst began acquiring textiles from the Fred Harvey Company after viewing an exhibit of Indian artifacts.
Over four decades he amassed a collection spanning more than a century of Navajo weaving and including nearly every major type produced from 1800 to 1920. Hearst's passion for American Indian artifacts was so strong that he had originally visualized his now-famous castle in San Simeon as a showplace for his Navajo textile collection. At a time when the Harvey Company was itself influencing the development of Indian handcrafts by opening up the tourist market, Hearst contributed to this influence by expressing his own artistic preference for rare and unusual pieces.
This catalogue raisonné, featuring nearly 200 illustrations, provides the general public with the first look at this important collection. Nancy Blomberg's narrative introduces the reader to the history of Navajo weaving and documents Hearst's role in its development. The heart of the book provides a detailed analysis of each textile: fibers, yarn types, dyes, and designs. Navajo Textiles thus constitutes an invaluable reference for scholars and collectors and will be enjoyed by anyone who appreciates these beautiful creations from the Navajo loom.
Over four decades he amassed a collection spanning more than a century of Navajo weaving and including nearly every major type produced from 1800 to 1920. Hearst's passion for American Indian artifacts was so strong that he had originally visualized his now-famous castle in San Simeon as a showplace for his Navajo textile collection. At a time when the Harvey Company was itself influencing the development of Indian handcrafts by opening up the tourist market, Hearst contributed to this influence by expressing his own artistic preference for rare and unusual pieces.
This catalogue raisonné, featuring nearly 200 illustrations, provides the general public with the first look at this important collection. Nancy Blomberg's narrative introduces the reader to the history of Navajo weaving and documents Hearst's role in its development. The heart of the book provides a detailed analysis of each textile: fibers, yarn types, dyes, and designs. Navajo Textiles thus constitutes an invaluable reference for scholars and collectors and will be enjoyed by anyone who appreciates these beautiful creations from the Navajo loom.
[more]
Navajo Weaving in the Late Twentieth Century
Kin, Community, and Collectors
Ann Lane Hedlund
University of Arizona Press, 2004
According to the Navajos, the holy people Spider Man and Spider Woman first brought the tools for weaving to the People. Over the centuries Navajo artists have used those tools to weave a web of beauty—a rich tradition that continues to the present day.
In testimony to this living art form, this book presents 74 dazzling color plates of Navajo rugs and wall hangings woven between 1971 and 1996. Drawn from a private southwestern collection, they represent the work of sixty of the finest native weavers in the American Southwest. The creations depicted here reflect a number of styles—revival, sandpainting, pictorial, miniature, sampler—and a number of major regional variations, from Ganado to Teec Nos Pos.
Textile authority Ann Hedlund provides an introductory narrative about the development of Navajo textile collecting—including the shift of attention from artifacts to art—and a brief review of the history of Navajo weaving. She then comments on the shaping of the particular collection represented in the book, offering a rich source of knowledge and insight for other collectors.
Explaining themes in Navajo weaving over the quarter-century represented by the Santa Fe Collection, Hedlund focuses on the development of modern rug designs and the influence on weavers of family, community, artistic identity, and the marketplace. She also introduces each section of plates with a description of the representative style, its significance, and the weavers who perpetuate and deviate from it. In addition to the textile plates, Hedlund’s color photographs show the families, landscapes, livestock, hogans, and looms that surround today’s Navajo weavers.
Navajo Weaving in the Late Twentieth Century explores many of the important connections that exist today among weavers through their families and neighbors, and the significant role that collectors play in perpetuating this dynamic art form. For all who appreciate American Indian art and culture, this book provides invaluable guidance to the fine points of collecting and a rich visual feast.
In testimony to this living art form, this book presents 74 dazzling color plates of Navajo rugs and wall hangings woven between 1971 and 1996. Drawn from a private southwestern collection, they represent the work of sixty of the finest native weavers in the American Southwest. The creations depicted here reflect a number of styles—revival, sandpainting, pictorial, miniature, sampler—and a number of major regional variations, from Ganado to Teec Nos Pos.
Textile authority Ann Hedlund provides an introductory narrative about the development of Navajo textile collecting—including the shift of attention from artifacts to art—and a brief review of the history of Navajo weaving. She then comments on the shaping of the particular collection represented in the book, offering a rich source of knowledge and insight for other collectors.
Explaining themes in Navajo weaving over the quarter-century represented by the Santa Fe Collection, Hedlund focuses on the development of modern rug designs and the influence on weavers of family, community, artistic identity, and the marketplace. She also introduces each section of plates with a description of the representative style, its significance, and the weavers who perpetuate and deviate from it. In addition to the textile plates, Hedlund’s color photographs show the families, landscapes, livestock, hogans, and looms that surround today’s Navajo weavers.
Navajo Weaving in the Late Twentieth Century explores many of the important connections that exist today among weavers through their families and neighbors, and the significant role that collectors play in perpetuating this dynamic art form. For all who appreciate American Indian art and culture, this book provides invaluable guidance to the fine points of collecting and a rich visual feast.
[more]
A New Deal for Navajo Weaving
Reform and Revival of Diné Textiles
Jennifer McLerran
University of Arizona Press, 2022
A New Deal for Navajo Weaving provides a detailed history of early to mid-twentieth-century Diné weaving projects by non-Natives who sought to improve the quality and marketability of Navajo weaving but in so doing failed to understand the cultural significance of weaving and its role in the lives of Diné women.
By the 1920s the durability and market value of Diné weavings had declined dramatically. Indian welfare advocates established projects aimed at improving the materials and techniques. Private efforts served as models for federal programs instituted by New Deal administrators. Historian Jennifer McLerran details how federal officials developed programs such as the Southwest Range and Sheep Breeding Laboratory at Fort Wingate in New Mexico and the Navajo Arts and Crafts Guild. Other federal efforts included the publication of Native natural dye recipes; the publication of portfolios of weaving designs to guide artisans; and the education of consumers through the exhibition of weavings, aiding them in their purchases and cultivating an upscale market. McLerran details how government officials sought to use these programs to bring the Diné into the national economy; instead, these federal tactics were ineffective because they marginalized Navajo women and ignored the important role weaving plays in the resilience and endurance of wider Diné culture.
By the 1920s the durability and market value of Diné weavings had declined dramatically. Indian welfare advocates established projects aimed at improving the materials and techniques. Private efforts served as models for federal programs instituted by New Deal administrators. Historian Jennifer McLerran details how federal officials developed programs such as the Southwest Range and Sheep Breeding Laboratory at Fort Wingate in New Mexico and the Navajo Arts and Crafts Guild. Other federal efforts included the publication of Native natural dye recipes; the publication of portfolios of weaving designs to guide artisans; and the education of consumers through the exhibition of weavings, aiding them in their purchases and cultivating an upscale market. McLerran details how government officials sought to use these programs to bring the Diné into the national economy; instead, these federal tactics were ineffective because they marginalized Navajo women and ignored the important role weaving plays in the resilience and endurance of wider Diné culture.
[more]
Painting the Maya Universe
Royal Ceramics of the Classic Period
Dorie Reents-Budet
Duke University Press, 1994
Lavishly illustrated with nearly 400 color images, Painting the Maya Universe is the most thorough study and brilliant display of Classic Maya ceramic painting yet published. Building on twenty years of research and debate, Dorie Reents-Budet and her collaborators Joseph W. Ball, Ronald L. Bishop, Virginia M. Fields, and Barbara MacLeod bring together many perspectives, including the art historical, archaeological, epigraphical, and ethnohistorical, to examine one of the world’s great but overlooked painting traditions. With an emphasis on sixth- to eighth-century pottery featuring both pictorial and hieroglyphic imagery, Painting the Maya Universe presents an extraordinary exploration of the cultural roles and meanings of these Guatemalan, Belizean, and Mexican elite painted ceramics. Maya pottery is discussed both in aesthetic terms and for the important information it reveals about Maya society, artistry, politics, history, religion, and ritual. The range of ceramic painting styles developed during this period is also presented and defined in detail.
Painting the Maya Universe is the first publication to present a definitive translation of the hieroglyphic texts painted on these objects. With many glyphs deciphered here for the first time, this analysis reveals much about how these vessels were perceived and used by the Maya, their owners’ names, and, in several cases, the names of the artists who created them. This information is combined with archaeological and other data, including nuclear chemical analyses, to correlate painting styles with specific Maya sites.
Published in conjunction with Duke University Museum of Art and an exhibition touring the United States, Painting the Maya Universe presents an astonishing visual record as well as a monumental scholarly achievement. With photographs by Justin Kerr, the foremost photographer of pre-Columbian art, it includes over 90 unique full-color rollout photographs, each showing the entire surface of an object in a single frame. The book also addresses the questions and controversy regarding the loss of information that occurs when objects are removed from their archaeological context to become part of public and private collections.
Painting the Maya Universe will energize discussion of Maya pottery, hieroglyphic texts, and iconography. Its photographs, a lasting resource on this great painting tradition, will stimulate and delight the eye. It is a breakthrough in art history and Latin American scholarship that will enrich general readers and scholars alike.
Painting the Maya Universe is the first publication to present a definitive translation of the hieroglyphic texts painted on these objects. With many glyphs deciphered here for the first time, this analysis reveals much about how these vessels were perceived and used by the Maya, their owners’ names, and, in several cases, the names of the artists who created them. This information is combined with archaeological and other data, including nuclear chemical analyses, to correlate painting styles with specific Maya sites.
Published in conjunction with Duke University Museum of Art and an exhibition touring the United States, Painting the Maya Universe presents an astonishing visual record as well as a monumental scholarly achievement. With photographs by Justin Kerr, the foremost photographer of pre-Columbian art, it includes over 90 unique full-color rollout photographs, each showing the entire surface of an object in a single frame. The book also addresses the questions and controversy regarding the loss of information that occurs when objects are removed from their archaeological context to become part of public and private collections.
Painting the Maya Universe will energize discussion of Maya pottery, hieroglyphic texts, and iconography. Its photographs, a lasting resource on this great painting tradition, will stimulate and delight the eye. It is a breakthrough in art history and Latin American scholarship that will enrich general readers and scholars alike.
[more]
Plundered Skulls and Stolen Spirits
Inside the Fight to Reclaim Native America's Culture
Chip Colwell
University of Chicago Press, 2017
Who owns the past and the objects that physically connect us to history? And who has the right to decide this ownership, particularly when the objects are sacred or, in the case of skeletal remains, human? Is it the museums that care for the objects or the communities whose ancestors made them? These questions are at the heart of Plundered Skulls and Stolen Spirits, an unflinching insider account by a leading curator who has spent years learning how to balance these controversial considerations.
Five decades ago, Native American leaders launched a crusade to force museums to return their sacred objects and allow them to rebury their kin. Today, hundreds of tribes use the Native American Graves Protection and Repatriation Act to help them recover their looted heritage from museums across the country. As senior curator of anthropology at the Denver Museum of Nature & Science, Chip Colwell has navigated firsthand the questions of how to weigh the religious freedom of Native Americans against the academic freedom of scientists and whether the emptying of museum shelves elevates human rights or destroys a common heritage. This book offers his personal account of the process of repatriation, following the trail of four objects as they were created, collected, and ultimately returned to their sources: a sculpture that is a living god, the scalp of a massacre victim, a ceremonial blanket, and a skeleton from a tribe considered by some to be extinct. These specific stories reveal a dramatic process that involves not merely obeying the law, but negotiating the blurry lines between identity and morality, spirituality and politics.
Things, like people, have biographies. Repatriation, Colwell argues, is a difficult but vitally important way for museums and tribes to acknowledge that fact—and heal the wounds of the past while creating a respectful approach to caring for these rich artifacts of history.
Five decades ago, Native American leaders launched a crusade to force museums to return their sacred objects and allow them to rebury their kin. Today, hundreds of tribes use the Native American Graves Protection and Repatriation Act to help them recover their looted heritage from museums across the country. As senior curator of anthropology at the Denver Museum of Nature & Science, Chip Colwell has navigated firsthand the questions of how to weigh the religious freedom of Native Americans against the academic freedom of scientists and whether the emptying of museum shelves elevates human rights or destroys a common heritage. This book offers his personal account of the process of repatriation, following the trail of four objects as they were created, collected, and ultimately returned to their sources: a sculpture that is a living god, the scalp of a massacre victim, a ceremonial blanket, and a skeleton from a tribe considered by some to be extinct. These specific stories reveal a dramatic process that involves not merely obeying the law, but negotiating the blurry lines between identity and morality, spirituality and politics.
Things, like people, have biographies. Repatriation, Colwell argues, is a difficult but vitally important way for museums and tribes to acknowledge that fact—and heal the wounds of the past while creating a respectful approach to caring for these rich artifacts of history.
[more]
Portraits of Clay
Potters of Mata Ortíz
Sandra S. Smith
University of Arizona Press, 1998
Not long ago, pottery was a lost art in Chihuahua, Mexico. But in the 1970s, near the ruins of Casas Grandes, an art revolution was born. Inspired by ancient pottery fragments from a tradition that had disappeared before the arrival of the first Europeans, a self-taught woodcutter-turned-artist reinvented an entire ceramic technology. Today Casas Grandes pottery, made by hand from local clays and mineral colors by a handful of artists, claims high prices and sets the standard for contemporary pottery. Photographer Sandra Smith traveled to Mata Ortíz to photograph the potters and to record their reflections on their work. Her portraits document their techniques—collecting and preparing the clay, forming by hand, sanding, and painting. They also capture intimate moments between artists and their art. For anyone who has ever admired Casas Grandes pottery, Portraits of Clay is a beautiful introduction to the potters and their work.
[more]
Recasting Commodity and Spectacle in the Indigenous Americas
Edited by Helen Gilbert and Charlotte Gleghorn
University of London Press, 2014
Returning Home
Diné Creative Works from the Intermountain Indian School
Farina King, Michael P. Taylor, and James R. Swensen With Contributions by Robert Dodson, Rena Dunn, Terence Wride, and Students of the Intermountain Indian School
University of Arizona Press, 2021
Returning Home features and contextualizes the creative works of Diné (Navajo) boarding school students at the Intermountain Indian School, which was the largest federal Indian boarding school between 1950 and 1984. Diné student art and poetry reveal ways that boarding school students sustained and contributed to Indigenous cultures and communities despite assimilationist agendas and pressures.
This book works to recover the lived experiences of Native American boarding school students through creative works, student interviews, and scholarly collaboration. It shows the complex agency and ability of Indigenous youth to maintain their Diné culture within the colonial spaces that were designed to alienate them from their communities and customs. Returning Home provides a view into the students’ experiences and their connections to Diné community and land. Despite the initial Intermountain Indian School agenda to send Diné students away and permanently relocate them elsewhere, Diné student artists and writers returned home through their creative works by evoking senses of Diné Bikéyah and the kinship that defined home for them.
Returning Home uses archival materials housed at Utah State University, as well as material donated by surviving Intermountain Indian School students and teachers throughout Utah, Arizona, and New Mexico. Artwork, poems, and other creative materials show a longing for cultural connection and demonstrate cultural resilience. This work was shared with surviving Intermountain Indian School students and their communities in and around the Navajo Nation in the form of a traveling museum exhibit, and now it is available in this thoughtfully crafted volume. By bringing together the archived student arts and writings with the voices of living communities, Returning Home traces, recontextualizes, reconnects, and returns the embodiment and perpetuation of Intermountain Indian School students’ everyday acts of resurgence.
This book works to recover the lived experiences of Native American boarding school students through creative works, student interviews, and scholarly collaboration. It shows the complex agency and ability of Indigenous youth to maintain their Diné culture within the colonial spaces that were designed to alienate them from their communities and customs. Returning Home provides a view into the students’ experiences and their connections to Diné community and land. Despite the initial Intermountain Indian School agenda to send Diné students away and permanently relocate them elsewhere, Diné student artists and writers returned home through their creative works by evoking senses of Diné Bikéyah and the kinship that defined home for them.
Returning Home uses archival materials housed at Utah State University, as well as material donated by surviving Intermountain Indian School students and teachers throughout Utah, Arizona, and New Mexico. Artwork, poems, and other creative materials show a longing for cultural connection and demonstrate cultural resilience. This work was shared with surviving Intermountain Indian School students and their communities in and around the Navajo Nation in the form of a traveling museum exhibit, and now it is available in this thoughtfully crafted volume. By bringing together the archived student arts and writings with the voices of living communities, Returning Home traces, recontextualizes, reconnects, and returns the embodiment and perpetuation of Intermountain Indian School students’ everyday acts of resurgence.
[more]
Rock Art in an Indigenous Landscape
From Atlantic Canada to Chesapeake Bay
Edward J. Lenik with Nancy L. Gibbs
University of Alabama Press, 2021
Examines a host of rock art sites from Nova Scotia to Maryland
Rock art, petroglyphs, and pictographs have been made by indigenous peoples for thousands of years. Images have been found on bedrock, cliff faces, ridge tops, and boulders and in rock shelters. Some rock surfaces are covered with abstract and geometric designs such as concentric circles, zigzag lines, grids, and cross-hatched and ladder-like patterns. Others depict humans, footprints and handprints, mammals, serpents, and mythic creatures. All were meticulously pecked, incised or painted. This ancient art form connects us to Native Americans’ past, traditions, world views, and sacred places.
Rock Art in an Indigenous Landscape: From Atlantic Canada to Chesapeake Bay is the culmination of the research of preeminent rock art scholar Edward J. Lenik. Here, he profiles more than 64 examples of rock art in varied locations from Nova Scotia to Maryland. Chapters are organized geographically and lead the reader through coastal sites, rivers and streams, lakes and ponds, and upland sites.
Lenik discusses the rock art examples in the context of the indigenous landscape, noting the significance of the place of discovery. Coverage includes a meticulous description of the design or motif and suggestions of time frame, artist-makers, and interpretations. Where possible, indigenous views on the artifacts enrich the narrative. Other invaluable elements are a discussion of how to identify indigenous rock art; a glossary of rock art terms and features and archaeological culture periods; an up-to-date bibliography; and an appendix of a number of reported but unconfirmed petroglyph sites in the regions.
Rock art, petroglyphs, and pictographs have been made by indigenous peoples for thousands of years. Images have been found on bedrock, cliff faces, ridge tops, and boulders and in rock shelters. Some rock surfaces are covered with abstract and geometric designs such as concentric circles, zigzag lines, grids, and cross-hatched and ladder-like patterns. Others depict humans, footprints and handprints, mammals, serpents, and mythic creatures. All were meticulously pecked, incised or painted. This ancient art form connects us to Native Americans’ past, traditions, world views, and sacred places.
Rock Art in an Indigenous Landscape: From Atlantic Canada to Chesapeake Bay is the culmination of the research of preeminent rock art scholar Edward J. Lenik. Here, he profiles more than 64 examples of rock art in varied locations from Nova Scotia to Maryland. Chapters are organized geographically and lead the reader through coastal sites, rivers and streams, lakes and ponds, and upland sites.
Lenik discusses the rock art examples in the context of the indigenous landscape, noting the significance of the place of discovery. Coverage includes a meticulous description of the design or motif and suggestions of time frame, artist-makers, and interpretations. Where possible, indigenous views on the artifacts enrich the narrative. Other invaluable elements are a discussion of how to identify indigenous rock art; a glossary of rock art terms and features and archaeological culture periods; an up-to-date bibliography; and an appendix of a number of reported but unconfirmed petroglyph sites in the regions.
[more]
Standing on the Walls of Time
Ancient Art of Utah's Cliffs and Canyons
Kevin T. Jones and Layne Miller
University of Utah Press, 2019
In western culture, rock art has traditionally been viewed as “primitive” and properly belonging in the purview of anthropologists rather than art scholars and critics. This volume, featuring previously unpublished photographs of Utah’s magnificent rock art by long-time rock art researcher Layne Miller and essays by former Utah state archaeologist Kevin Jones, views rock art through a different lens.
Miller’s photographs include many rare and relatively unknown panels and represent a lifetime of work by someone intimately familiar with the Colorado Plateau. The photos highlight the astonishing variety of rock art as well as the variability within traditions and time periods. Jones’s essays furnish general information about previous Colorado Plateau cultures and shine a light on rock art as art. The book emphasizes the exquisite artistry of these ancient works and their capacity to reach through the ages to envelop and inspire viewers.
Miller’s photographs include many rare and relatively unknown panels and represent a lifetime of work by someone intimately familiar with the Colorado Plateau. The photos highlight the astonishing variety of rock art as well as the variability within traditions and time periods. Jones’s essays furnish general information about previous Colorado Plateau cultures and shine a light on rock art as art. The book emphasizes the exquisite artistry of these ancient works and their capacity to reach through the ages to envelop and inspire viewers.
[more]
The Swarts Ruin
A Typical Mimbres Site in Southwestern New Mexico, With a New Introduction by Steven A. LeBlanc
H. S. Cosgrove and C. Burton Cosgrove
Harvard University Press, 2011
This classic volume on the evocative and enigmatic pottery of the Mimbres people has become an irreplaceable design catalogue for contemporary Native American artists. Burt and Harriet (Hattie) Cosgrove were self-trained archaeologists who began excavating Mimbres materials in 1919. When their meticulous research came to the attention of Alfred V. Kidder of the Peabody Museum, he invited them to direct the Mimbres Valley Expedition at the Swarts Ranch in southern New Mexico on behalf of the Peabody.
Working in the summers of 1924 to 1927, the Cosgroves recovered nearly 10,000 artifacts at the Swarts site, including an extraordinary assemblage of Mimbres ceramics. Like their original 1932 report, this paperbound facsimile edition includes over 700 of Hattie Cosgrove’s beautiful line drawings of individual Mimbres pots. It also presents a new introduction by archaeologist Steven A. LeBlanc, who reviews the eighty years of research on the Mimbres that have followed the Cosgroves’ groundbreaking study. The Peabody’s reissue of The Swarts Ruin once again makes available a rich resource for scholars, artists, and admirers of Native American art, and it places in historical context the Cosgroves’ many contributions to North American archaeology.
[more]
The Sweet Smell of Home
The Life and Art of Leonard F. Chana
Leonard F. Chana, Susan Lobo, and Barbara Chana
University of Arizona Press, 2009
A self-taught artist in several mediums who became known for stippling, Leonard Chana captured the essence of the Tohono O’odham people. He incorporated subtle details of O’odham life into his art, and his images evoke the smells, sounds, textures, and tastes of the Sonoran desert—all the while depicting the values of his people.
He began his career by creating cards and soon was lending his art to posters and logos for many community-based Native organizations. Winning recognition from these groups, his work was soon actively sought by them. Chana’s work also appears on the covers and as interior art in a number of books on southwestern and American Indian topics.
The Sweet Smell of Home is an autobiographical work, written in Chana’s own voice that unfolds through oral history interviews with anthropologist Susan Lobo. Chana imparts the story of his upbringing and starting down the path toward a career as an artist. Balancing humor with a keen eye for cultural detail, he tells us about life both on and off the reservation.
Eighty pieces of art—26 in color—grace the text, and Chana explains both the impetus for and the evolution of each piece. Leonard Chana was a people’s artist who celebrated the extraordinary heroism of common people’s lives. The Sweet Smell of Home now celebrates this unique artist whose words and art illuminate not only his own remarkable life, but also the land and lives of the Tohono O’odham people
He began his career by creating cards and soon was lending his art to posters and logos for many community-based Native organizations. Winning recognition from these groups, his work was soon actively sought by them. Chana’s work also appears on the covers and as interior art in a number of books on southwestern and American Indian topics.
The Sweet Smell of Home is an autobiographical work, written in Chana’s own voice that unfolds through oral history interviews with anthropologist Susan Lobo. Chana imparts the story of his upbringing and starting down the path toward a career as an artist. Balancing humor with a keen eye for cultural detail, he tells us about life both on and off the reservation.
Eighty pieces of art—26 in color—grace the text, and Chana explains both the impetus for and the evolution of each piece. Leonard Chana was a people’s artist who celebrated the extraordinary heroism of common people’s lives. The Sweet Smell of Home now celebrates this unique artist whose words and art illuminate not only his own remarkable life, but also the land and lives of the Tohono O’odham people
[more]
Visualities 2
More Perspectives on Contemporary American Indian Film and Art
Denise K. Cummings
Michigan State University Press, 2019
Echoing and expanding the aims of the first volume, Visualities: Perspectives on Contemporary American Indian Film and Art, this second volume contains illuminating global Indigenous visualities concerning First Nations, Aboriginal Australian, Maori, and Sami peoples. This insightful collection of essays explores how identity is created and communicated through Indigenous film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities Two draws on American Indian studies, film studies, art history, cultural studies, visual culture studies, women’s studies, and postcolonial studies. Among the artists and media makers examined are Tasha Hubbard, Rachel Perkins, and Ehren “Bear Witness” Thomas, as well as contemporary Inuit artists and Indigenous agents of cultural production working to reimagine digital and social platforms. Films analyzed include The Exiles, Winter in the Blood, The Spirit of Annie Mae, Radiance, One Night the Moon, Bran Nue Dae, Ngati, Shimásání, and Sami Blood.
[more]
Visualities
Perspectives on Contemporary American Indian Film and Art
Denise K. Cummings
Michigan State University Press, 2011
In recent years, works by American Indian artists and filmmakers such as Jaune Quick-To-See Smith, Edgar Heap of Birds, Sherman Alexie, Shelley Niro, and Chris Eyre have illustrated the importance of visual culture as a means to mediate identity in contemporary Native America. This insightful collection of essays explores how identity is created and communicated through Native film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities: Perspectives on Contemporary American Indian Film and Art draws on American Indian Studies, American Studies, Film Studies, Cultural Studies, Women’s Studies, and Postcolonial Studies. Among the artists examined are Hulleah J. Tsinhnahjinnie, Eric Gansworth, Melanie Printup Hope, Jolene Rickard, and George Longfish. Films analyzed include Imprint, It Starts with a Whisper, Mohawk Girls, Skins, The Business of Fancydancing, and a selection of Native Latin films.
[more]
Visualizing Genocide
Indigenous Interventions in Art, Archives, and Museums
Edited by Yve Chavez and Nancy Marie Mithlo; Foreword by Charlene Villaseñor Black
University of Arizona Press, 2022
Visualizing Genocide examines how creative arts and memory institutions selectively commemorate or often outright ignore stark histories of colonialism. The essays confront outdated narratives and institutional methods by investigating contemporary artistic and scholarly interventions documenting settler colonialisms including land theft, incarceration, intergenerational trauma, and genocide. Interdisciplinary approaches, including oral histories, exhibition practices, artistic critiques, archival investigations, and public arts, are among the many decolonizing methods incorporated in contemporary curatorial practices.
Rather than dwelling simply in celebratory appraisals of Indigenous survival, this unprecedented volume tracks how massacres, disease, removals, abrogated treaties, religious intolerance, theft of land, and relocation are conceived by contemporary academics and artists. Contributors address indigeneity in the United States, Norway, Canada, Australia, and the Caribbean in scholarly essays, poems, and artist narratives. Missions, cemeteries, archives, exhibitions, photography, printmaking, painting, installations, performance, music, and museums are documented by fourteen authors from a variety of disciplines and illustrated with forty-three original artworks.
The authors offer honest critique, but in so doing they give hopeful and concrete strategies for the future. This powerful collection of voices employs Indigenous epistemologies and decolonial strategies, providing essential perspectives on art and visual culture.
Contributors
T. Christopher Aplin
Emily Arthur
Marwin Begaye
Charlene Villaseñor Black
Yve Chavez
Iris Colburn
Ellen Fernandez-Sacco
Stephen Gilchrist
John Hitchcock
Michelle J. Lanteri
Jérémie McGowan
Nancy Marie Mithlo
Anne May Olli
Emily Voelker
Richard Ray Whitman
Rather than dwelling simply in celebratory appraisals of Indigenous survival, this unprecedented volume tracks how massacres, disease, removals, abrogated treaties, religious intolerance, theft of land, and relocation are conceived by contemporary academics and artists. Contributors address indigeneity in the United States, Norway, Canada, Australia, and the Caribbean in scholarly essays, poems, and artist narratives. Missions, cemeteries, archives, exhibitions, photography, printmaking, painting, installations, performance, music, and museums are documented by fourteen authors from a variety of disciplines and illustrated with forty-three original artworks.
The authors offer honest critique, but in so doing they give hopeful and concrete strategies for the future. This powerful collection of voices employs Indigenous epistemologies and decolonial strategies, providing essential perspectives on art and visual culture.
Contributors
T. Christopher Aplin
Emily Arthur
Marwin Begaye
Charlene Villaseñor Black
Yve Chavez
Iris Colburn
Ellen Fernandez-Sacco
Stephen Gilchrist
John Hitchcock
Michelle J. Lanteri
Jérémie McGowan
Nancy Marie Mithlo
Anne May Olli
Emily Voelker
Richard Ray Whitman
[more]
Weavers Of Tradition And Beauty
Basketmakers Of The Great Basin
Mary Lee Fulkerson
University of Nevada Press, 1995
Weavers of Tradition and Beauty presents new information on contemporary Native American basketry of the Great Basin, largely from the viewpoint of the weavers themselves. In collecting their stories, Kathleen Curtis and Mary Lee Fulkerson traveled throughout Nevada, never dreaming their odyssey over back-roads and to reservations would stretch into years. Finding a deep connection to the people of the sage, the authors accompanied the weavers as they gathered and prepared their special willow, dyed the bracken fern root, and wove their baskets. Baskets—and the people who weave them—have always been revered and honored by Native Americans. Fulkerson and Curtis depict, in text and full color and black and white photographs, how their art prevails—even over adverse environmental, social, and economic conditions. Today, contemporary weavers continue their work by creating baskets in the manner of their ancestors. Teaching their children and grandchildren how to weave baskets, these artisans carry on a long and strong tradition. By documenting the basketry of Nevada's native people, the authors make a significant contribution in preserving this ancient and beautiful craft. Foreword by Catherine S. Fowler.
[more]
Whispers of the Ancients
Native Tales for Teaching and Healing in Our Time
Tamarack Song and Moses (Amik) Beaver
University of Michigan Press, 2010
"Whispers of the Ancients helps us reconnect with the spirit of story that is a part of all our heritages. With respect for the wisdom of the past and with an eye toward the cross-cultural links that legends can make between us, Tamarack Song offers a gathering of tales and insightful comments that point the way back to the circle."
---Joseph Bruchac, author of more than 70 books for children and adults, including (with coauthor Michael J. Caduto) the best-selling Keepers of the Earth: Native American Stories and Environmental Activities for Children
It's easy to imagine yourself transported back to a time when an Elder might have told stories like those in Whispers of the Ancients around a glowing hearth. Thanks to Tamarack Song's storytelling skills, monsters, heroes, and shapeshifters come alive and open a doorway to the mysteries of life. Easily accessible to all ages, this is a book that speaks to each person at his or her own level of comprehension and need. It is as beautiful to read as it is to look at.
Stunning Aboriginal artwork by Moses (Amik) Beaver combines with provocative storytelling to renew, in all their traditional splendor, exceptional legends from around the world. Entertaining, profound, passionate, glorious---these are stories that illustrate and evoke themes common to everyone's life, with an ancient wisdom that helps the listener to cope with today's opportunities for tenderness, grief, passion, and irony.
Easily accessible to all ages, this is a book that speaks to each person at his or her own level of comprehension and need. It's as beautiful to read as it is to look at.
Tamarack Song has sought out the stories of the North African and Central Asian tribal peoples from whom he is descended, and he has listened to the tales of indigenous people from the tundra to the tropics. His books include Journey to the Ancestral Self, and he has contributed to Lois Einhorn's Forgiveness and Child Abuse. He is also a counselor, wilderness skills teacher, rites-of-passage guide, and founder of the Teaching Drum Outdoor School. Song lives in the Nicolet National Forest near Three Lakes, Wisconsin.
Moses (Amik) Beaver is an Ojibwe artist from the isolated fly-in community of Nibinamik (Summer Beaver), Ontario, three hundred miles north of Lake Superior. Grants from the Ontario Arts Council and other sources support his ongoing work with youth, and partial support for this book's illustrations comes from the District School Board of Nibinamik.
[more]
Women and Ledger Art
Four Contemporary Native American Artists
Richard Pearce
University of Arizona Press, 2013
Ledger art has traditionally been created by men to recount the lives of male warriors on the Plains. During the past forty years, this form has been adopted by Native female artists, who are turning previously untold stories of women’s lifestyles and achievements into ledger-style pictures. While there has been a resurgence of interest in ledger art, little has been written about these women ledger artists.
Women and Ledger Art calls attention to the extraordinary achievements of these strong women who have chosen to express themselves through ledger art. Author Richard Pearce foregrounds these contributions by focusing on four contemporary women ledger artists: Sharron Ahtone Harjo (Kiowa), Colleen Cutschall (Oglala Lakota), Linda Haukaas (Sicangu Lakota), and Dolores Purdy Corcoran (Caddo). Pearce spent six years in continual communication with the women, learning about their work and their lives. Women and Ledger Art examines the artists and explains how they expanded Plains Indian history.
With 46 stunning images of works in various mediums—from traditional forms on recovered ledger pages to simulated quillwork and sculpture, Women and Ledger Art reflects the new life these women have brought to an important transcultural form of expression.
Women and Ledger Art calls attention to the extraordinary achievements of these strong women who have chosen to express themselves through ledger art. Author Richard Pearce foregrounds these contributions by focusing on four contemporary women ledger artists: Sharron Ahtone Harjo (Kiowa), Colleen Cutschall (Oglala Lakota), Linda Haukaas (Sicangu Lakota), and Dolores Purdy Corcoran (Caddo). Pearce spent six years in continual communication with the women, learning about their work and their lives. Women and Ledger Art examines the artists and explains how they expanded Plains Indian history.
With 46 stunning images of works in various mediums—from traditional forms on recovered ledger pages to simulated quillwork and sculpture, Women and Ledger Art reflects the new life these women have brought to an important transcultural form of expression.
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