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Knowing Native Arts
Knowing Native Arts brings Nancy Marie Mithlo’s Native insider perspective to understanding the significance of Indigenous arts in national and global milieus. These musings, written from the perspective of a senior academic and curator traversing a dynamic and at turns fraught era of Native self-determination, are a critical appraisal of a system that is often broken for Native peoples seeking equity in the arts. Mithlo addresses crucial issues, such as the professionalization of Native arts scholarship, disparities in philanthropy and training, ethnic fraud, and the receptive scope of Native arts in new global and digital realms. This contribution to the field of fine arts broadens the scope of discussions and offers insights that are often excluded from contemporary appraisals.
"Our Indian Princess"
In this path breaking study, anthropologist Nancy Marie Mithlo examines the power of stereotypes, the utility of pan-Indianism, the significance of realist ideologies, and the employment of alterity in Native American arts.
Making History
Written by scholars actively producing Native art resources, this book guides readers--students, educators, collectors, and the public--in how to learn about Indigenous cultures as visualized in our creative endeavors.
New Native Art Criticism
Artists : Norman Akers, Marcus Amerman, Arthur Amiotte, Rick Bartow, Susie Bevins-Ericsen, David Bradley, Lorenzo Clayton, Karita Coffey, Jim Denomie, Joe Feddersen, John Feodorov, Yatika Starr Fields, Nicholas Galanin, Richard Glazer-Danay, Bob Haozous, Edgar Heap of Birds, John Hoover, Frank Buffalo Hyde, G. Peter Jemison, Peter B. Jones, Tom Jones, Sonya Kelliher-Combs, Jean LaMarr, Frank LaPena, Kapulani Landgraf, James Lavadour, Linda Lomahaftewa, George Longfish, Erica Lord, Judith Lowry, Jason Lujan, James Luna, Mario Martinez, Alan Michelson, Douglas Miles, Kay Miller, Shelley Niro, Lillian Pitt, Jolene Rickard, Diego Romero, Mateo Romero, Tanis Maria S'eiltin, Susie Silook, Rose B. Simpson, Preston Singletary, Duane Slick, Jaune Quick-to-See Smith, Bentley Spang, C. Maxx Stevens, Roxanne Swentzell, Charlene Teters, Gail Tremblay, Anna Tsouhlarakis, Kade L. Twist, Kay WalkingStick, Denise Wallace, Marie Watt, Richard Ray Whitman, Will Wilson, Steven Yazzie.
For a Love of His People
"Horace Poolaw (Kiowa, 1906-84) was born during a time of great change for his American Indian people as they balanced age-old traditions with the influences of mainstream America. A rare American Indian photographer who documented Indian subjects, Poolaw began making a visual history in the mid-1920s and continued for the next fifty years. When he sold his photos, he often stamped the reverse: 'A Poolaw Photo, Pictures by an Indian, Horace M. Poolaw, Anadarko, Okla.' Not simply by 'an Indian, ' but a Kiowa man strongly rooted in his multi-tribal community, Poolaw's work celebrates his subjects' place in American life and preserves an insider's perspective on a world few outsiders are familiar with--the Native America of the southern plains during the mid-twentieth century. [This book] is based on the Poolaw Photography Project, a research initiative established by Poolaw's daughter Linda in 1989 at Stanford University and carried on by Native scholars Nancy Marie Mithlo (Chiricahua Apache) and Tom Jones (Ho-Chunk) of the University of Wisconsin-Madison"--
Reservation X
Catalogue of an exhibition originally held in the First People's Hall of the Canadian Museum of Civilization, curated by Gerald McMaster.
La Raza Cosmética
In the decades following the Mexican Revolution, nation builders, artists, and intellectuals manufactured ideologies that continue to give shape to popular understandings of indigeneity and mestizaje today. Postrevolutionary identity tropes emerged as part of broader efforts to reunify the nation and solve pressing social concerns, including what was posited in the racist rhetoric of the time as the “Indian problem.” Through a complex alchemy of appropriation and erasure, indigeneity was idealized as a relic of the past while mestizaje was positioned as the race of the future. This period of identity formation coincided with a boom in technology that introduced a sudden proliferation of ...
Clay People
Around 1880 potters of Cochiti Pueblo began making large standing figures of circus performers, cowboys, merchants, and other outsiders who, with the coming of the railroad, encroached increasingly on the Pueblo world. Made by the traditional coil-and-scrape method, these expressive and frankly satirical figures were masterpieces of design and execution, standing as tall as thirty inches without support. At the same time, potters of Tesuque Pueblo developed their own tradition--smaller, seated figures that became known as Rain Gods. Both figurative styles were marketed aggressively by curio dealers in shops and via mail order. Before their popularity waned in the 1930s, they found their way into collections throughout the United States and Europe. This catalogue presents both historic and contemporary views of Pueblo Indian ceramics inspired by the human form. Seldom seen, century-old masterpieces from Cochiti and Tesuque Pueblos reveal the imagination and skill of nineteenth and early twentieth century artists while contemporary potters bring the tradition into the present.
Hearts of Our People
"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation fthat have always been foundational to the art of Native women."--Page 4 of cover.
