Hearts of our people : Native women artists by Jill Ahlberg Yohe, Teri Greeves ; editor, Laura Silver ; foreword by Kaywin Feldman.
Call Number: N6538.A4 H43 2019
Publication Date: 2019
"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation that have always been foundational to the art of Native women."--Page 4 of cover.
Close encounters : the next 500 years : international exhibition of contemporary indigenous art by edited by Sherry Farrell Racette
Call Number: N6351.2.I53 C56 2011
Publication Date: 2011
"Now is the moment to reconfigure our notions of time to reveal alternative ways of thinking and being for the future. In Close Encounters: The Next 500 Years Indigenous artists imagine the future within the context of present experiences and past histories. By radically reconsidering encounter narratives between native and non-native people, Indigenous prophecies, possible utopias and apocalypses, this exhibition proposes intriguing possibilities for the next 500 years. "We all in different measure have carved out the future," observes Hopi photographer and filmmaker, Victor Masayesva, in his book Husk of Time. "We are all clairvoyants, soothsayers, prophets, knowingly assuming our predictions. Close Encounters brings together over 30 Indigenous artists from across Canada, the United States, South America, Europe, Australia and New Zealand, including newly commissioned work from Rebecca Belmore, Faye HeavyShield, Kent Monkman, and Edward Poitras."
Mapping Modernisms by Elizabeth Harney (Editor); Ruth B. Phillips (Editor)
Call Number: N6351.2.I53 M37 2018
Publication Date: 2019-01-11
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
Art for a New Understanding: Native Voices, 1950s to Now by Mindy N. Besaw; Candice Hopkins; Manuela Well-Off-Man
Call Number: NX652.I53 B47 2018
Publication Date: 2018-10-24
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.
The Road to Aztlan: art from a mythic homeland by Virginia Fields; Victor Zamudio-Taylor; Los Angeles County Museum of Art Staff (Contribution by)
Call Number: F 1219.3 .C6 F54 2001
Publication Date: 2001-09-01
Published in conjunction with the major exhibition, 'The Road to Aztlan: Art from a Mythic Homeland' explores the art derived from and created about the legendary area that encompasses the American Southwest and portions of Mexico long before they were separated by an international border. The book and accompanying exhibition view Aztlan as a metaphoric centre and allegorical place of origin for the various peoples of the Southwest and Mexico. Cultural interactions between the two areas span two millennia, beginning with maize cultivation, which spread north from Mexico around BC 1200. The book also investigates the relationship between myth and history as expressed in art and material culture of the region's inhabitants over time and the relationship and continuities of cultural practices over the course of the pre-Columbian, colonial, and contemporary eras. Crucial to these changing relationships are aspects of tradition and innovation within cultures as people sought to negotiate, maintain, and redefine their identities in the face of social disruption.
Revivals! Diverse Traditions , 1920-1945 : the history of twentieth-century American craft by Janet Kardon (Editor)
Call Number: NK 808 .R48 1994
Publication Date: 1994-10-01
This documents the contributions of five individual aesthetics - African-American, Appalachian, Colonial Revival, Hispanic and Native American - to crafts in the United States between 1920 and 1945. Essays by noted experts provide descriptions of the objects portrayed.
Aztecs by Eduardo Matos Moctezuma (Text by)
Call Number: F 1219.73 .A96 2002
Publication Date: 2003-03-01
Displays the artwork of the Aztecs on exhibit at Britain's Royal Academy of Arts and includes essays detailing key elements of Aztec culture and history.
Tribal Art by Judith Miller; Graham Rae (Photographer); Philip Keith (As told to)
Call Number: N 5311 .M54 2006
Publication Date: 2006-03-20
"From the Publisher: The only guide that features art from tribes and cultural groups from all around the world, not just one region, Tribal Art features historical, cultural, and price guide information on the art of Africa, Oceania, and the Americas and is the definitive collector's guide for tribal art enthusiasts."
Visions and Voices: Native American painting from the Philbrook Museum of Art by Lydia Wyckoff; Ruthe B. Jones; Marla Redcorn (Compiled by); Andrea Rogers-Henry (Compiled by); Carol Haralson (Designed by)
Call Number: N 6538 .A4 P54
Publication Date: 1996-12-31
One of the world's great collections of Native American painting is presented in this important catalog, which features reproductions of 484 paintings as well as a history of Native American painting based on interviews and scholarly research, including information on the development of Native American painting at Bacone College in Oklahoma and the role of the Philbrook's Indian Annual juried competition. From a ledger-style painting of the Battle of the Little Bighorn (c. 1892) to a canvas that expresses a Native view of the Vietnam War (c. 1971), the range of imagery represented here is amazingly broad. The catalog section includes biographical information on the artists as well as excerpts from interviews. Among the 160 artists represented here are Narciso Abeyta, Harrison Begay, Woody Crumbo, R. C. Gorman, Joe Herrera, Allan Houser, Oscar Howe, Fred Kabotie, Gerald Nailor, Jerome Tiger, Jimmy Toddy, and Pablita Velarde. Any scholar or serious collector of Native American art will need to refer to this book.
North American Indian Art by David W. Penney; George Horse Capture
Call Number: E 98 .A7 P36 2004
Publication Date: 2004-06-17
This timely new book surveys the artistic traditions of indigenous North America, from those of ancient cultures such as Adena, Hopewell, Mississippian, and Anasazi to the work of modern artists like Earnest Spybuck, Fred Kabotie, Dick West, T. C. Cannon, and Gerald McMaster. The text is organized geographically and draws upon the testimonies of oral tradition, Native American history, and the latest research in North American archaeology.Recent art historical scholarship has helped restore, to a large degree, some understanding of the identities and cultural roles of Native American artists and the social contexts of the objects they created. Native American art is often discussed simply as a cultural production rather than the work of individual artists who made objects to fufill social and cultural purposes; this book focuses as much as possible on the artists themselves, their cultural identities, and the objects they made even when the names of the individual artists remain unrecoverable.But this is not a book of artists' biographies. It seeks to inform a general readership about the history of Native American art with a lively narrative full of historical incident and illustrated with provocative and superlative works of art. It explores the tension between artistic continuities spanning thousands of years and the startlingly fresh innovations that resulted from specific historical circumstances. The narrative weaves together so-called "traditional" arts, "tourist" arts, and Native American art of today by taking the point of view of their particular and local histories--the artists, their communities, and audiences.Among the many cultures included are: Arapaho, Athapascan, Cherokee, Cheyenne, Chumash, Hopi, Hupa/Karok, Inuit, Iroquois, Kwakiutl, Lakota, Miwok, Navajo, Ojibwa, Pomo, Tlingit, Tsimshian, Uypik, and Zuni.nbsp;
Perspectives and Parallels: expanding interpretive foundations with American Indian curators and writers by Kenneth Bloom (Editor); Catherine Meier (Designed by)
Call Number: NX652.I53 P377 2014
Publication Date: 2014-03-04
Perspectives and Parallels: Expanding Interpretive Foundations was conceived as the first programmatic steps to address the history of underrepresented indigenous populations in the artworld and to create a platform upon which Native Perspectives on the Tweed Museum Collection could be expressed according to the voices and vision of Native artists, scholars and curators. The catalog details three exhibitions curated by emerging Native American artists and scholars, along with the Symposium which wrapped up this three year project.
American Indians in British Art, 1700-1840 by Stephanie Pratt
Call Number: N 8217 .I5 P73 2005
Publication Date: 2005-12-01
Ask anyone the world over to identify a figure in buckskins with a feather bonnet, and the answer will be "Indian." Many works of art produced by non-Native artists have reflected such a limited viewpoint. In American Indians in British Art, 1700-1840, Stephanie Pratt explores for the first time an artistic tradition that avoided simplification and that instead portrayed Native peoples in a surprisingly complex light. During the eighteenth century, the British allied themselves with Indian tribes to counter the American colonial rebellion. In response, British artists produced a large volume of work focusing on American Indians. Although these works depicted their subjects as either noble or ignoble savages, they also represented Indians as active participants in contemporary society. Pratt places artistic works in historical context and traces a movement away from abstraction, where Indians were symbols rather than actual people, to representational art, which portrayed Indians as actors on the colonial stage. But Pratt also argues that to view these images as mere illustrations of historical events or individuals would be reductive. As works of art they contain formal characteristics and ideological content that diminish their documentary value.
Encyclopedia of Native American Artists by Deborah Everett; Elayne Zorn
Call Number: REF N 6538 .A4 E94 2008
Publication Date: 2008-09-30
Indigenous North Americans have continuously made important contributions to the field of art in the U.S. and Canada, yet have been severely under-recognized and under-represented. Native artists work in diverse media, some of which are considered art (sculpture, painting, photography), while others have been considered craft (works on cloth, basketry, ceramics).Some artists feel strongly about working from a position as a Native artist, while others prefer to produce art not connected to a particular cultural tradition. This volume examines the lives and works of approximately 70 Native American artists, demonstrating the range of media, themes, and experiences of Native artists, and their influences on and by western culture. Eight pages of color plates, and black and white images throughout, display the diversity of work by these artists.
By Native Hands: woven treasures from the Lauren Rogers Museum of Art by Stephen W. Cook
Call Number: E 59 .B3 L38 2005
Publication Date: 2005-01-01
By Native Hands describes the history and context of Native American basketry with full-color photographs and scholarly text. The objects are brought to life in words and pictures, including such rare objects as a feathered Pomo blazing sun basket that took three years to create. This book presents baskets from every major geographic region of North America, with examples from the Choctaw, Panamint Shoshone, Salish, Ojibwa, and many others. By the turn of the nineteenth century, Catherine Marshall Gardiner had begun to collect woven baskets from Native American cultures across the continent. Her collection, the first donation to the Lauren Rogers Museum of Art in 1923, is widely known as one of the finest and most representative Native American basketry collections. It now includes baskets from 88 tribes, almost all of the basket-making tribes in North America. The contributors include Stephen W. Cook, Betty J. Duggan, Dawn Glinsmann, William Ashley Harris, and Joyce Herold.
Art in Oceania: a new history by Peter William Brunt; Nicholas Thomas
Call Number: N 7410 .A735 2012
Publication Date: 2013-01-31
A spectacular survey of the artistic traditions of Oceania, spanning the islands' initial settlement in the prehistoric era through the 21st century Masks and figural sculptures are the most familiar examples of the visual culture of Oceania, yet they provide only a glimpse of the fascinating art of this diverse region. Artisans of the Pacific Islands and Australia have produced objects ranging from stained and beaten fabric, rock engravings, and woven containers to tattooed and painted bodies, drawings on sand and paper, and contemporary installation art. This survey looks at the full range of objects created over several millennia, spanning the settlement of Oceania in the prehistoric period to the present day. Lavishly illustrated and encyclopedic in scope, this landmark book places the art of Oceania in its comprehensive and often complex historical context. Essays by leading scholars offer a fresh approach to archaeological findings; the impacts of migration, trade, warfare, and colonization; the influence of materials, ritual, dance, and religion; and the roles of photography, tourism, nationalism, and popular culture. Featuring a rich selection of previously unpublished materials and accompanied by commentary from contemporary practitioners, Art in Oceania: A New History is essential reading, offering an important reinterpretation of existing scholarship, and a dynamic introduction to Oceanic artistic traditions in the 21st century.
Dimensions of Native America: the contact zone by co-curators, Jehanne Teilhet-Fisk, Robin Franklin Nigh
Call Number: E 98 .A7 D5 1998
Publication Date: 1998-06-01
Table of Contents:
Pueblo women, colonial settlement, and creative endeavors : power and appropriation in Native American ceramics / Hilary L. Scothom -- Reproduction, revival and tradition in native art : Southeastern pottery / Diana Roman -- The artification of the Hopi Kachina Tihu / Noah Young -- Cultural weavings in sweet grass, swamp cane and yucca : basketry of the Choctaw, Seminole and Hopi / Diane Clark -- History reconfigured : Haida Argillite carving / Teri Robin Yoo -- Picturing St. Augustine : images of a Florida city through native eyes / Heather Waldroup -- Blurred boundaries : jewelry as visual art and cultural identity / Caroline Klarr -- American Indian quilts : an indigenous product of the contact zone / Jehanne Teilhet-Fisk -- Seminole patchwork : pride of many colors / Ashley E. Remer and Nessa Page-Leiberman -- Navajo/Diné pictorial weaving / Rebecca McNeil -- "Continuity and change" : the deer motif within the easel painting tradition of the Southwest / Faye Elizabeth Hunt -- Osceola's public life : two images of the Seminole hero / Shari Addonizio -- The search for the "real Indian" : Joseph Henry Sharp and the issue of authenticity at the turn of the nineteenth century / Marie Watkins -- Gertrude Käsebier's Native American portraits / Jennifer Sheffield Currie -- "Questioning good intentions" : the photography of Hulleah Tsinhnahjinnie / Susan Kloman -- Contemporary artists in the contact zone : happy meeting grounds or circle the wagons? / Robin Franklin Nigh -- "Pan-Indian art" : an aesthetic phenomenon / Blue Sau-Pa Pahdocony -- Poetry from the Florida Governor's Council on Indian Affairs publications, the Florida Indian Youth Program / Elizabeth Osceola and Ida Frances Osceola.
Molas: folk art of the Cuna Indians by Ann Parker; Avon Neal
Call Number: F 1565.2 .C8 P3 1977
Publication Date: 1983-12-27
Descriptive note: San Blas and its people -- Molas and their sources -- Historic, abstract, and geometric designs -- Scenes of everyday Cuna life -- Cuna lore, myths, and legends -- Indigenous flora and fauna -- Mola-makers -- Canal zone and U.S. military influences -- Sporting events -- Christian religious imagery -- Manned flight -- Illustrations from books, magazines, etc. -- Photographs of Cuna life -- Western clothing and common objects -- Games and entertainments -- The political scene -- Advertisements, trademarks, and package labels.
Treasures of Gilcrease by Anne Morand; Kevin Smith; Daniel C. Swan; Sarah Erwin; Byron Price (Foreword by); B. Byron Price (Foreword by)
Call Number: N 8214.5 .U6 T462 2003
Publication Date: 2005-01-10
In 1938, Thomas Gilcrease, a native of Tulsa, Oklahoma, opened the first museum devoted to the art of the American West. A true visionary, Gilcrease was ahead of his time in understanding the importance of America's own heritage. His passion for art and history, his Native American ancestry, and his oil revenues coincided in a rare alignment. His legacy is an astounding collection of paintings, sculptures, artifacts, rare books, and documents. This lavishly produced book, featuring nearly two hundred color reproductions, tells the story of Gilcrease and of the renowned museum that bears his name. Compiled by the museum curators, Treasures of Gilcrease exemplifies the beauty and breadth of the museum's resources. The fine art collection alone boasts more than 10,000 American works, ranging in styles from classical to romantic to impressionist and by such master artists as George Catlin, Charles M. Russell, Thomas Moran, and Frederic Remington. The works by Native artists also span styles ranging from painted hides to twentieth-century flat-style. The artifacts--300,000-plus pieces housed in the galleries and vaults--include ceramics, clothing, pipes, and objects of utility, ceremony, and ornamentation. The archives collection contains some 100,000 manuscripts, books, photographs, maps, imprints, and broadsides. Treasures of Gilcrease offers a vivid and engaging tour through these collections in the company of the experts who know them best.
Beauty, Honor, and Tradition: the legacy of Plains Indian shirts by Joseph D. Horse Capture; George P. Horse Capture
Call Number: E 98 .C8 H67 2001
Publication Date: 2001-03-29
"Beauty, Honor, and Tradition: The Legacy of Plains Indian Shirts represents a powerful collaboration between two great museums - the National Museum of the American Indian/Smithsonian Institution, and The Minneapolis Institute of Arts - and two curators, father and son members of the A'aninin Indian Tribe of Montana. George P. Horse Capture, and his son, Joseph D. Horse Capture, bring different insights to this project as they explore new relationships among the shirts, the shirtmakers, the historians and scholars, and the audience of Indians and non-Indians alike."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Native American Art and Culture by Brendan January
Call Number: JUV E 98 .A7 J25 2005
Publication Date: 2005-03-04
Discover the wonders of Native American art in this title that uncovers the unique culture and people that have created these beautiful art forms.
Native Americans by Brendan January
Call Number: JUV E 77.4 .J35 2005
Publication Date: 2005-01-07
Native American art is tied closely to its culture. This title examines what art reveals about history and simultaneously how history explains the art. It explores past civilizations through both the images it produced and cultural artifacts that remain. The title focuses on how art and architecture from the Native Americans reflect life at the time, and how we can use the surviving art to understand how people used to live.
Contested Visions in the Spanish Colonial World by Ilona Katzew (Editor)
Call Number: N 6502.2 .K38 2011
Publication Date: 2011-11-29
Contested Visions offers a comparative view of the two principal viceroyalties of Spanish America: Mexico and Peru. Spanning developments from the 15th to the 19th century, this ambitious book looks at the many ways and contexts in which indigenous peoples were represented in art of the early modern period--by colonial artists, European artists, and themselves. More than two hundred works of art, including paintings, sculptures, illustrated books, maps, codices, manuscripts, and other materials such as textiles, keros, and feather works, are reproduced in full-color illustrations, demonstrating the rich variety of these artistic approaches. A collection of essays by an international team of distinguished scholars in the field uncovers the different meanings and purposes behind these depictions of native populations of the Americas. These experts explore the role of the visual arts in negotiating a sense of place in late pre-Columbian and colonial Latin America. They address a range of important topics, such as the construct of the Indian as a good Christian; how Amerindians drew on their pre-Columbian past to stake out a place within the Spanish body politic; their participation in festive rites; and their role as artists. Lavishly illustrated, this ambitious book provides a compelling and original framework by which to understand the intersection of vision and power in the Spanish colonial world.