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This environmentally charged and no-holds barred survey of nuclear culture in Nevada is illustrated with "Atomic Pop" images of the nuclear era.
Margaret Tafoya's paramount place in the evolution of Tewa Pueblo pottery in Santa Clara, New Mexico, includes a history of the Pueblo people, Margaret Tafoya's life, Santa Clara pottery-making techniques, and the Tafoya family and descendants. She has adhered to the traditions of her pueblo, and demonstrates the very best in Tewa Pueblo pottery.
A state-by-state guide for folk art enthusiasts to learn about the masked dances still carried out in Mexico's Indian and mestizo communities.
In 1974 Seven Families in Pueblo Pottery was published to accompany an exhibit at the Maxwell Museum of Anthropology: twenty years later there are some 80,000 copies in print. Like Seven Families, this updated and greatly enlarged version by Rick Dillingham, who curated the original exhibition, includes portraits of the potters, color photographs of their work, and a statement by each potter about the work of his or her family. In addition to the original seven--the Chino and Lewis families (Acoma Pueblo), the Nampeyos (Hopi), the Guteirrez and Tafoya families (Santa Clara), and the Gonzales and Martinez families (San Ildefonso)--the author had added the Chapellas and the Navasies (Hopi-Tewa), the Chavarrias (Santa Clara), the Herrera family (Choti), the Medina family (Zia), and the Tenorio-Pacheco and the Melchor families (Santo Domingo). Because the craft of pottery is handed down from generation to generation among the Pueblo Indians, this extended look at multiple generations provides a fascinating and personal glimpse into how the craft has developed. Also evident are the differences of opinion among the artists about the future of Pueblo pottery and the importance of following tradition. A new generation of potters has come of age since the publication of Seven Families. The addition of their talents, along with an ever-growing interest in Native American pottery, make this book a welcome addition to the literature on the Southwest.
Folk art is as varied as it is indicative of person and place, informed by innovation and grounded in cultural context. The variety and versatility of 300 American folk artists is captured in this collection of informative and thoroughly engaging essays. American Folk Art: A Regional Reference offers a collection of fascinating essays on the life and work of 300 individual artists. Some of the men and women profiled in these two volumes are well known, while others are important practitioners who have yet to receive the notice they merit. Because many of the artists in both categories have a clear identity with their land and culture, the work is organized by geographical region and includes an essay on each region to help make connections visible. There is also an introductory essay on U.S. folk art as a whole. Those writing about folk art to date tend to view each artist as either traditional or innovative. One of the major contributions of this work is that it demonstrates that folk artists more often exhibit both traits; they are grounded in their cultural context and creative in the way they make work their own. Such insights expand the study of folk art even as they readjust readers' understanding of who folk artists are.
The work of Western women artists, past and present, is collected here in a stunning array of forms: fiction, poetry, autobiography, essay, journal and letter writing, sculpture, painting, graphics, photography, ceramics, needlework, music, and dance. The unique experience of women artists from diverse national, ethnic, racial, and economic backgrounds is explored from their own viewpoints, as are the relationships between women's social condition and women's art.
Blacks and Latinos have transformed the American city—together these groups now constitute the majority in seven of the ten largest cities. Large-scale immigration from Latin America has been changing U.S. racial dynamics for decades, and Latino migration to new destinations is changing the face of the American south. Yet most of what social science has helped us to understand about these groups has been observed primarily in relation to whites—not each other. Just Neighbors? challenges the traditional black/white paradigm of American race relations by examining African Americans and Latinos as they relate to each other in the labor market, the public sphere, neighborhoods, and schools. The book shows the influence of race, class, and received stereotypes on black-Latino social interactions and offers insight on how finding common ground may benefit both groups. From the labor market and political coalitions to community organizing, street culture, and interpersonal encounters, Just Neighbors? analyzes a spectrum of Latino-African American social relations to understand when and how these groups cooperate or compete. Contributor Frank Bean and his co-authors show how the widely held belief that Mexican immigration weakens job prospects for native-born black workers is largely unfounded—especially as these groups are rarely in direct competition for jobs. Michael Jones-Correa finds that Latino integration beyond the traditional gateway cities promotes seemingly contradictory feelings: a sense of connectedness between the native minority and the newcomers but also perceptions of competition. Mark Sawyer explores the possibilities for social and political cooperation between the two groups in Los Angeles and finds that lingering stereotypes among both groups, as well as negative attitudes among blacks about immigration, remain powerful but potentially surmountable forces in group relations. Regina Freer and Claudia Sandoval examine how racial and ethnic identity impacts coalition building between Latino and black youth and find that racial pride and a sense of linked fate encourages openness to working across racial lines. Black and Latino populations have become a majority in the largest U.S. cities, yet their combined demographic dominance has not abated both groups' social and economic disadvantage in comparison to whites. Just Neighbors? lays a much-needed foundation for studying social relations between minority groups. This trailblazing book shows that, neither natural allies nor natural adversaries, Latinos and African Americans have a profound potential for coalition-building and mutual cooperation. They may well be stronger together rather than apart.
This book combines extensive research with interviews granted by three Santa Clara potters. During the interviews, the author recorded and photographed each step -- from clay pit to market -- in the making of contemporary Santa Clara pottery. Collecting and preparing the clay, making slips and paints, modelling various kinds of vessels, sanding, smoothing, slipping, polishing, decorating, firing -- all are described and illustrated so thoroughly that the reader can experiment with the Santa Clara techniques himself if he wishes.
Presents a biographical dictionary profiling important Native American women, including birth and death dates, major accomplishments, and historical influence.
Bianca St. Germain works at a Night House, a place where vampires like the aristocratic Jeremiah Archer pay to feed on humans, and she doesn t much care what others think of her. The money is good, and at least there, she s safe. Bianca also doesn t care that the Night House is killing her. All she cares about is nauth, the highly addictive poison in vampire bites that brings a euphoria like no drug ever could. But when Bianca meets James, a reclusive empath who feels everything she does, for the first time, she considers a life outside of the Night House and a someone worth living for. But Jeremiah has decided to keep Bianca for himself; he won t allow her to walk away. As she allows her feelings for James to grow, she struggles to contain nauth's strong hold on her life. If they are to have a future, James must make her see what she's worth and what she means to him, before Jeremiah and nauth claim her for good."