Native American

Portraits of 'the Whiteman': Linguistic Play and Cultural Symbols among the Western Apache

'The Whiteman' is one of the most powerful and pervasive symbols in contemporary American Indian cultures. Portraits of 'the Whiteman': linguistic play and cultural symbols among the Western Apache investigates a complex form of joking in which Apaches stage carefully crafted imitations of Anglo-Americans and, by means of these characterizations, give audible voice and visible substance to their conceptions of this most pressing of social 'problems'. Keith Basso's essay, based on linguistic and ethnographic materials collected in Cibecue, a Western Apache community, provides interpretations of selected joking encounters to demonstrate how Apaches go about making sense of the behaviour of Anglo-Americans. The portraits developed in these texts are understood as models of Whitemen and for dealing with Whitemen created by Apaches for Apaches. More obliquely, they also express Apaches' conception of themselves, for 'the Whiteman' has long been a symbol of what 'the Apache' is not. This study draws on current theory in symbolic anthropology, sociolinguistics, and the dramaturgical model of human communication developed by Erving Goffman. Although the assumptions and premises that shape these areas of inquiry are held by some to be quite disparate, this analysis shows them to be fully compatible and mutually complementary. In order to make explicit the meanings of joking texts, Basso examines in detail the abstract principles, both linguistic and nonlinguistic, for constructing and interpreting joking imitations in the context of face-to-face encounters. An exercise in cultural interpretation, this essay is also a study of ethnographic theory, the anthropology of play, American Indian humor, and the function of ethic boundaries in the everyday life of a modern Western Apache community.

Native North American Art (Oxford History of Art)

This exciting investigation explores the indigenous arts of the US and Canada from the early pre-contact period to the present day, stressing the conceptual and iconographic continuities over five centuries and across an immensely diverse range of regions. The richness of Native American art is emphasized through discussions of basketry, wood and rock carvings, dance masks, and beadwork, alongside the contemporary vitality of paintings and installations by modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier. Authors Berlo and Philips fully incorporate substantive new research and scholarship, and examine such issues as gender, representation, the colonial encounter, and contemporary arts. By encompassing both the sacred and secular, political and domestic, the ceremonial and commercial, Native North American Art shows the importance of the visual arts in maintaining the integrity of spiritual, social, political, and economic systems within Native North American societies.

Ready-to-Use North American Indian Motifs: 391 Different Permission-Free Designs Printed One Side (Clip Art Series)

Nothing But the Truth: An Anthology of Native American Literature

The Codex Borgia: A Full-Color Restoration of the Ancient Mexican Manuscript

Authentic American Indian Beadwork and How to Do It: With 50 Charts for Bead Weaving and 21 Full-Size Patterns for Applique

Southwestern Pottery: Anasazi to Zuni

An art book, a history book, and a reference book showcasing more than 1,100 pots. There isn't a more complete southwestern pottery guide.

From Greenwich Village to Taos: Primitivism and Place at Mabel Dodge Luhan's (Cultureamerica)

They all came to Taos: Georgia O'Keefe, D. H. Lawrence, Carl Van Vechten, and other expatriates of New York City. Fleeing urban ugliness, they moved west between 1917 and 1929 to join the community that art patron Mabel Dodge created in her Taos salon and to draw inspiration from New Mexico's mountain desert and "primitive" peoples. As they settled, their quest for the primitive forged a link between "authentic" places and those who called them home.

In this first book to consider Dodge and her visitors from a New Mexican perspective, Flannery Burke shows how these cultural mavens drew on modernist concepts of primitivism to construct their personal visions and cultural agendas. In each chapter she presents a place as it took shape for a different individual within Dodge's orbit. From this kaleidoscope of places emerges a vision of what place meant to modernist artists--as well as a narrative of what happened in the real place of New Mexico when visitors decided it was where they belonged. Expanding the picture of early American modernism beyond New York's dominance, she shows that these newcomers believed Taos was the place they had set out to find--and that when Taos failed to meet their expectations, they changed Taos.

Throughout, Burke examines the ways notions of primitivism unfolded as Dodge's salon attracted artists of varying ethnicities and the ways that patronage was perceived--by African American writers seeking publication, Anglos seeking "authentic" material, Native American artists seeking patronage, or Nuevomexicanos simply seeking respect. She considers the notion of "competitive primitivism," especially regarding Carl Van Vechten, and offers nuanced analyses of divisions within northern New Mexico's arts communities over land issues and of the ways in which Pueblo Indians spoke on their own behalf.

Burke's book offers a portrait of a place as it took shape both aesthetically in the imaginations of Dodge's visitors and materially in the lives of everyday New Mexicans. It clearly shows that no people or places stand outside the modern world--and that when we pretend otherwise, those people and places inevitably suffer.

This book is part of the CultureAmerica series.

North American Indian Art (World of Art)

A splendidly illustrated introduction to the rich history of Native American art, distinguished by its broad coverage and nuanced discussion.

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. 180 illustrations, 80 in color.

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 • Zuni

Maya Art and Architecture (World of Art)

Mary Miller vividly takes the reader into the art of one of the world's most enigmatic ancient civilizations. From temple to tomb, she explains how and why the Maya made their greatest works. New archaeological discoveries at Copan, Tikal, and Palenque--to name but a few--are included, and the author draws on recent decipherments in Maya writing to provide fresh interpretations of Maya sculpture and ceramics. For the art historian, student, and traveler, Maya Art and Architecture will prove indispensable. Chapters on Maya architecture and the materials of Maya art set the stage for discussions of the sculpture of different time periods and regions, the famous murals at Bonampak, the dramatic new findings at Cacaxtla, and the painted Maya ceramics of the first millennium a.d. The author has organized the material in new ways, considering the nature of the human form in Maya art, for example, and the role of the hand-held object.