Kategoria BISAC: Art >> Indigenous Art of the Americas

The Mimbres cultural florescence between about AD 1000 and AD 1140 remains one of the most visually astonishing and anthropologically intriguing questions in Southwest prehistory. In this revised edition, noted Mimbres scholar Dr. J. J. Brody incorporates the extensive fieldwork done since the original publication in 1977, updating his discussion of village life, the larger world in which the Mimbres people lived, and how the art that they practiced illuminates these wider issues. He addresses human and animal iconography, the importance of perspective and motion in perceiving Mimbres...

Two small books of vivid drawings--one filled with images by the Southern Cheyenne warrior-artist Howling Wolf and the other with images by Zotom, a Kiowa man--came to the Southwest Museum of the American Indian, now part of the Autry National Center, in December 1986. The books were gifts from Leonora Curtin Paloheimo, and had been commissioned directly from the artists in 1877 by Paloheimo's grandmother, Eva Scott Muse Fenyes (1849-1930). At the time Fenyes commissioned the books, Zotom and Howling Wolf were imprisoned at Fort Marion in Saint Augustine, Florida. Like some of the other...

A native of Tulsa, Oklahoma, Eugene B. Adkins (1920 2006) spent nearly four decades acquiring his extraordinary collection of Native American and American southwestern art. His vast assemblage includes paintings, photographs, jewelry, baskets, textiles, and ceramics by many of the Southwest s most renowned artists and artisans. This stunning volume features full-color reproductions of significant works from the Adkins Collection, some of which are reproduced here for the first time.

Adkins began collecting in the 1960s, when American southwestern art enjoyed a resurgence in popularity....

These monuments, considered sacred, were one of the community s important forms of cultural and religious...

Art in Our Lives grew out of the conversations of a group of Native women artists who spoke frankly about the roles, responsibilities, and commitments in their lives while balancing this existence with their art practice. Finding common ground, they started out as a small group of six that eventually grew to eleven who ranged in age from seventy to twenty-seven with backgrounds as diverse as their ages. Together they recognized their experiences, acknowledging that what they shared was not unique to them since other Native women artists could speak to similar life realities. How often such...

A new tradition of Pueblo fine art painting arose in the first three decades of the twentieth century, born out of a dynamic encounter between the Pueblo and Euro-American communities in and around Santa Fe, New Mexico. Traditional Pueblo art supported community values and was integral to the ritual and daily life of the people, but the painting style that developed after 1900 was novel in every way, involving new subject matter, new media, and a new audience of Euro-American artists, intellectuals, and art patrons. The young Pueblo artists who created the new genre merged their Pueblo...

Art in Our Lives grew out of the conversations of a group of Native women artists who spoke frankly about the roles, responsibilities, and commitments in their lives while balancing this existence with their art practice. Finding common ground, they started out as a small group of six that eventually grew to eleven who ranged in age from seventy to twenty-seven with backgrounds as diverse as their ages. Together they recognized their experiences, acknowledging that what they shared was not unique to them since other Native women artists could speak to similar life realities. How often such...

Exploring the history and the current renaissance of basket making in the Native American Southwest, this lavishly illustrated volume features the work and words of the contemporary basket makers that participated in a Convocation at the School of American Research. The basket makers range in age from twenty-one to eighty-two and represent the Akimel O'odham, Apache, Hopi, Navajo, Pueblo, and Tohono O'odham tribes.

When you hold a Pueblo pot in your hands, you feel a tactile connection through the clay to the potter and to centuries of tradition. You will find no better guide to this feeling than Talking with the Clay. Stephen Trimble's photographs capture the spirit of Pueblo pottery in its stunning variety, from the glittering micaceous jars of Taos Pueblo to the famous black ware of San Ildefonso Pueblo, from the bold black-on-white designs of Acoma Pueblo to the rich red and gold polychromes of the Hopi villages. His portraits of potters communicate the elegance and warmth of these artists, for...

The book profiles ten outstanding painters representing seven different Pueblo Indian groups and the Navajo Nation who participated in a convocation at the Indian Arts Research Center at the SAR. While some artists have chosen to depict traditional scenes and symbols and others have chosen to create modern works influenced by Euro-American painting, all draw on the deep remembering of tribal heritage and personal experience and a heightened awareness of the artist s role in more than one modern world."

Educated in the creative and enduring traditions of her Navajo kinspeople and at Harvard University, Gloria Emerson has a special interest in the field of American Indian aesthetics and in how landscape translates into art among native peoples. "I cannot help but observe my people moving from post-colonialism and tribalism into mainstream American ways. The sociological, historical, and cultural contradictions are of interest to me and these are what I paint and write about. I am deeply concerned with the loss of our language and our traditional ways-I know there are many seats of wisdom...

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...