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Explore the traditional arts and cultures of Native Americans through hands-on activities.
Arts and crafts offer a window into Native American cultures, reflecting their histories, technologies, beliefs, and everyday life. Every piece of Native American art tells us something about the environment and the culture in which it was developed, so that we can see how and why people make their art. The World Art & Culture series looks at cultures around the world, using artifacts as primary sources to explain how and what we can learn about a culture through its art. From painting to sculpture, textiles to metalwork, architecture to musical instruments, the series explores a fascinating and thought-provoking variety of arts, crafts, designs, and styles. Book jacket.
Avant-garde art between 1910 and 1950 is well known for its use of "primitive" imagery, often borrowed from traditional cultures in Africa and Oceania. Less recognized, however, is the use United States artists made of Native American art, myth, and ritual to craft a specifically American Modernist art. In this groundbreaking study, W. Jackson Rushing comprehensively explores the process by which Native American iconography was appropriated, transformed, and embodied in American avant-garde art of the Modernist period. Writing from the dual perspectives of cultural and art history, Rushing shows how national exhibitions of Native American art influenced such artists, critics, and patrons as Marsden Hartley, John Sloan, Mabel Dodge Luhan, Robert Henri, John Marin, Adolph Gottlieb, Barnett Newman, and especially Jackson Pollock, whose legendary drip paintings he convincingly links with the curative sand paintings of the Navajo. He traces the avant-garde adoption of Native American cultural forms to anxiety over industrialism and urbanism, post-World War I "return to roots" nationalism, the New Deal search for American strengths and values, and the notion of the "dark" Jungian unconscious current in the 1940s. Through its interdisciplinary approach, this book underscores the fact that even abstract art springs from specific cultural and political motivations and sources. Its message is especially timely, for Euro-American society is once again turning to Native American cultures for lessons on how to integrate our lives with the land, with tradition, and with the sacred.
"I argue for a history of Native American art that is politically informed," Margaret Dubin writes, "and for a criticism of contemporary Native American fine arts that is historically founded." Integrating ethnography, discourse analysis, and social theory in a careful mapping of the Native American art world, this insightful new study explores the landscape of 'intercultural spaces' -- the physical and philosophical arenas in which art collectors, anthropologists, artists, historians, curators, and critics struggle to control the movement and meaning of art objects created by Native Americans. Dubin examines the ideas and interactions involved in contemporary collecting, in particular, to understand how marketplace demands have homogenised Western perceptions of 'authentic' Native American art. In doing so, she reveals the power relations of an art world in which Native American artists work within and against a larger system that seeks to control people by manipulating objects.
This series takes an in-depth look at both the decorative and functional art and design of a given culture. The engaging text explains how the art ties in to the culture, what it means, why it was created, and what it's used for or represents. Fine art, architecture, music and theater, cookware, clothing and textiles and other topics are all discussed. Feature boxes highlight fascinating bits of information on a specific topic, such as African embroidery.
Discover the beliefs, inventions, and materials that helped the art and culture of North America to develope.
Art and Cultural Heritage is appropriately, but not solely, about national and international law respecting cultural heritage. It is a bubbling cauldron of law mixed with ethics, philosophy, politics and working principles looking at how cultural heritage law, policy and practice should be sculpted from the past as the present becomes the future. Art and cultural heritage are two pillars on which a society builds its identity, its values, its sense of community and the individual. The authors explore these demanding concerns, untangle basic values, and look critically at the conflicts and contradictions in existing art and cultural heritage law and policy in its diverse sectors. The rich and provocative contributions collectively provide a reasoned discussion of the issues from a multiplicity of views to permit the reader to understand the theoretical and philosophical underpinnings of the cultural heritage debate.
This expansive survey of the art and culture of the American West presents richly diverse works by more than 35 distinct Native American nations considered alongside non-Native artists from the late eighteenth to early twentieth centuries. Knowing the West encourages deeper consideration of the variety of cultures that together reflect the complex histories and stories of the American West. Astonishing in range, historical significance, medium, and quality, more than 120 artworks by Native American and non-Native artists are presented—including textiles, baskets, paintings, pottery, beadwork, saddles, and prints—including many by women. The artworks are shown in meaningful dialogue, such as baskets by Elizabeth Hickox (Wiyot/Karuk) juxtaposed with a large-scale California landscape by Albert Bierstadt, or New Mexican tinwork in conversation with a beaded valise by Nellie Two Bear Gates (Dakota), emphasizing influence and exchange and pointing out different ways of thinking about land and place. Multiple texts by a diverse range of scholars with broad-reaching perspectives explore topics such as history and making of Lakota winter counts, the development of saddles and bridles from across cultures, and the influence of the railroad and tourism on Southwestern pottery. This unprecedented volume centers Native voices and perspectives, prompting further thinking and research about the art history of the West.