Native North American art

Native North American art

Janet Catherine Berlo

Book - 2015

"This lively introductory survey of indigenous North American arts from ancient times to the present explores both the shared themes and imagery found across the continent and the distinctive traditions of each region. Focusing on the richness of artwork created in the US and Canada, Native North American Art, Second Edition, discusses 3,000 years of architecture, wood and rock carvings, basketry, dance masks, clothing and more. The expanded text discusses twentieth- and twenty-first-century arts in all media including works by James Luna, Kent Monkman, Nadia Myre, Jaune Quick-to-See Smith, Will Wilson, and many more. Authors Berlo and Phillips incorporate new research and scholarship, examining such issues as art and ethics, gender, r...epresentation, and the colonial encounter. By bringing into one conversation the seemingly separate realms of the sacred and the secular, the political and the domestic, and the ceremonial and the commercial, Native North American Art shows how visual arts not only maintain the integrity of spiritual and social systems within Native North American societies, but have long been part of a cross-cultural experience as well."--Back cover.

Saved in:
Place a Hold Save to List Email this

2nd Floor Show me where

704.0397/Berlo
1 / 1 copies available
Location Call Number   Status
2nd Floor 704.0397/Berlo Checked In
Subjects
Indian art > North America.
Antiquities.
Indian art.
Indian art > North America > Art.
North America > Antiquities.
North America.
Published
New York, New York : Oxford University Press [2015]
Language
English
Main Author
Janet Catherine Berlo (author)
Other Authors
Ruth B. (Ruth Bliss) Phillips, 1945- (author)
Edition
Second edition
Physical Description
xxix, 410 pages : illustrations (mostly color), maps ; 26 cm
Bibliography
Includes bibliographical references (pages 353-392) and index.
ISBN
9780199947546
  • Preface to the Second Edition
  • Timeline
  • 1. An Introduction to the Indigenous Arts of North America
  • Art History and Native Art: The Challenge of Inclusion
  • Modes of Appreciation: Curiosity, Specimen, Art
  • Object in Fous: The National Museum of the American Indian
  • Expanding Art History's Inclusivity, and Defining "Art"
  • Colonial Legacies
  • Ownership and Public Display
  • Issue in Focus: "Who Owns Native Culture?"
  • Commodification and Authenticity
  • Who Is an India? Clan, Community, Political Structure, and Art
  • Spiritual Practices and the Making of Art
  • The Map of the Cosmos
  • The Nature of Spirit
  • Dreams and the Vision Quest
  • Shamanism
  • Social Practices and the Making of Art
  • Public Celebrations: Displaying and Transferring Power and Authority
  • The Power of Personal Adornment
  • "Creativity Is Our Tradition": Innovations and Retentions
  • Gender and the Making of Art
  • Artist in Focus: Kent Monkman-Repainting Art's Histories
  • 2. The Southwest
  • The Southwest as a Region
  • The Ancient World: Anasazi, Mimbres, Hohakam
  • Ancestral Puebloan Architecture, Ritual, and Worldview
  • Ancestral Puebloan Fiber Arts
  • Ancestral Puebloan Pottery
  • Object in Focus: Mimbres Pottery Designs: Trajectories and Transformations
  • An Animated Universe: Mimbres Painted Bowls
  • Hohokam Art and Culture
  • Paquimé: Crossroads of Cultures, 1250-1450 ce
  • From the Late Precontact to the Colonial Era to the Modern Pueblos
  • Pecos Pueblo: An Intercultural Zone
  • Pueblo Architectural Space and Ritual Performance
  • Pueblo Pottery
  • Artists in Focus: Maria and Julian Martinez
  • Navajo and Apache Arts
  • Arts of Medicine and Performance
  • Navajo Weaving and the Powers of Transformation
  • Materials in Focus: Wools for Navajo Weaving
  • Apache and O'odham Baskests
  • Navajo and Pueblo Jewelry
  • 3. The East
  • The East as a Region
  • Precontact Art Traditions: Archaic, Woodland, and Mississippian Civilizations
  • The Archaic Period
  • The Woodland Period
  • Mississippian Art and Culture
  • The Southeast: The Cataclysm of Contact
  • A Continuum of Basketry: Chitimacha Traditionalism and Beyond
  • Reconfiguring Southeastern Arts: Seminole and Miccosukee Textiles
  • The Northeast and the Great Lakes
  • The Early Contact Period
  • Arts of the "Middle Ground"
  • Arts of Self-Adornment
  • Object in Focus: The Assiginack Canoe
  • Techniques in Focus: Quilwork and Beadwork
  • In the Bag: A Mini-History of Change Told Through Bags
  • Artist in Focus: Caroline Parker
  • Souvenir Arts
  • 4. The West
  • The West as a Region
  • The Great Plains
  • The Plateau, the Great Basin, and California
  • Art of the Great Plains
  • Women's Arts
  • Technique in Focus: Tanning a Hide
  • Men's Arts
  • Arts of Survival and Renewal
  • Artist in Focus: Silver Horn: Chronicler of Kiowa Life
  • An Aesthetic of Excess
  • Métis Art: "The Flower Beadwork People"
  • The Intermontaine Region: An Artistic Crossroads
  • Object in Focus: A Bride's Wealth and a Community's Wealth
  • The Far West: Arts of California and the Great Basin
  • Chumash Baskets and the California Mission System
  • The "Basketry Craze" and the Arts and Crafts Movement
  • Lower Klamath River Baskets
  • Pomo Baskets: "Wrought with Feathers"
  • Washoe Baskets and the Power of Marketing
  • 5. The North
  • The North as a Region
  • Arts of the Boreal Forests
  • The Beothuk: "Perhaps They Were Not All Erased"
  • Clothing Arts to Pleas the Animals
  • Painted Coats of the Innu: Pleasing the Spirits of Caribou
  • The James Bay Cree: From Painted Geometries to Beaded Flowers
  • Dene Clothing for Protection and Beauty
  • The Arctic
  • Ancient Artists of the Arctic
  • Historic and Contemporary Arts of the Arctic
  • Arctic Architecture: Igloo, Tent, and House
  • Garments for Warmth and Beauty
  • Technique in Focus: Working with Gutskin
  • Artist in Focus: Nivisanaaq and Her Beaded Parka
  • Arts of Festival, Performance, and Success in the Hunt
  • Object in Focus: The Travels of a Raven Mask
  • Arts for New Markets: Baskets, Carvings, Dolls, and Textiles
  • Graphic Arts: Chronicling Life and Recalling the Past
  • Toward the Twenty-First Century in the North
  • 6. The Northwest Coast
  • The Northwest Coast as a Region
  • The Development of Styles: Local Variations and Regional Continuities Across Time
  • Origins of Artistic Styles: The Archaeological Record
  • The Early Contact Period
  • The Formline Style
  • Western Connoisseurship and Northwest Coast Art
  • Technique in Focus: Finger-weaving a Chilkat Blanket
  • Object in Focus: A Tsimshian Mask and Questions of Patrimony
  • Contexts for Art: Power, Status, and Cross-Cultural Exchange
  • Shamanism
  • Crest Art
  • The Potlatch
  • Art, Commodity, and Oral Tradition
  • Artists in Focus: Charles and Isabella Edenshaw
  • Northwest Coast Art Since the Beginning of the Twentieth Century
  • 7. Native Art From 1900 To 1980: Moderns and Modernists
  • The Multiplicity of Modernisms
  • Problems of Definition: Indigenous, Modern, Modernist
  • Primitivism, the "Time Lag," and Multiple Modernisms
  • The "Contemporary Traditional" in Twentieth-Century Art
  • Moments of Beginning
  • Schooling the Modern Native North American Artist
  • The Southern Plains and the Kiowa Five
  • Pueblo Painting and Rise of the "Studio Style"
  • The Display and Marketing of American Indian Art: Exhibitions, Mural Projects, and Competitions
  • Object in Focus: Book Cover of "Introduction to American Indian Art" (1931)
  • Moderns and Modernists at the Mid-Century
  • Pioneering Modernists: Howe, Herrera, and Houser
  • The Institute of American Indian Arts
  • Twentieth-Century Native Art in Alaska
  • Institutional Frameworks and Modernisms in Canada
  • Inventing "Inuit Art"
  • Technique in Focus: Inuit Stonecut Prints
  • Tradition in Modernity on the Northwest Coast
  • Anishinaabe Modern and Plains Abstraction: Morrisseau and Janvier
  • Artists and Activists in Canada: The 1970s and 1980s
  • The Indians of Canada Pavilion at Expo 67
  • Professionalization and Experimentation: Decolonizing Modernism
  • Artist in Focus: Fritz Scholder
  • 8. Native Cosmopolitanisms: 1980 and Beyond
  • The 1980s and the Rise of a Contemporary Native Art Movement
  • The Artist as Trickster
  • Institutional Contexts
  • Contemporary Art: Media, Expressive Modes, Artistic Choices
  • Painting and Graphic Arts
  • Artist in Focus: Jaune Quick-to-See Smith-Artist and Advocate
  • Photography
  • Craft in Art: Fiber, Metal, Clay and Beyond
  • Concept in Focus: What is "Craft"?
  • Sculpture and Mixed Media
  • Installation
  • Object in Focus: Edger Heap of Birds' Wheel
  • Performance
  • Film, Video, and New Media
  • Preeminent Issues in Native Art Since 1980
  • Postcolonial Perspectives on Sovereignty, Home, and Homelands
  • Ecology and the Land
  • The Native Body
  • Globalism and the Transnational
  • Conclusion: "Celebrate 40,000 Years of American Art"-But Be Vigilant
  • Notes
  • Bibliography
  • Index
Review by Library Journal Review

This latest in Oxford's "History of Art" series makes a fine statement, covering in fewer than 300 pages the artistic output of most Native American tribes across the northern hemisphere over a period of more than eight centuries. Both scholars have written on Native American art before, and the writing, although a trifle pedantic at times, flows smoothly, balancing the sweep of history and the diversity of tribal customs across the continent. In an introduction that stresses the commonality of themesÄcosmology, vision quests, love of ornament, reverence of materialsÄthey emphasize the importance of today's Native art as a natural extension. Five regional chapters then incorporate history, outstanding crafts and arts, some prominent figures, and social, religious, and cultural aspects. A final and perhaps disproportionately long chapter treats the present trends in what is termed modern Native art. Illustrations are especially fresh, varied, and well chosen, and a number of maps, a time line, and a bibliographic essay recommending further reading are helpful. A solid, basic reference at the right price; suitable for all libraries.ÄGay Neale, Southside Virginia Community Coll., Alberta and Keysville (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Similar Items