Treasury of clearly drawn illustrations based on authentic design motifs created by the Sioux, Blackfoot, Apache, Cheyenne, Navajo, Hopi, Seminole, and other tribes. Adapted from textile patterns, wood carvings, ceramics, and other traditional craft forms, the royalty-free designs include abstract and floral motifs as well as human, animal, and mythical figures.

Francis H. Harlow (b. 1928) is highly regarded as a leading authority on Pueblo Indian pottery, a field of study he pursued on his own after moving to New Mexico to work at Los Alamos National Laboratories as a physicist. In this memoir, Harlow describes his life growing up in Washington state, service in the US Army during World War II, college years, and his fifty-year career as a physicist at Los Alamos National Laboratory in New Mexico. It was his move to the Southwest that provided the impetus for his lifelong "hobby"--the study of Pueblo history and pottery. His contributions to the field of fluid dynamics have been no less remarkable. Harlow's scientific and scholarly pursuits were augmented by his artistic talent as a painter, a skill he applied to his work in pottery and science.

The work of the five artists featured in this catalog appeared in an exhibition at the Eiteljorg Museum of American Indians and Western Art in Indianapolis in 2001. The artists, all of whom were recipients of the Eiteljorg Fellowship, are Rick Bartow, Joe Feddersen, Teresa Marshall, Shelley Niro, and Susie Silook. The catalog contains a general introduction, including discussion of Allan Houser's importance as a teacher. A biography and analysis of the work of each artist follows, with good color plates. Annotation c. Book News, Inc., Portland, OR (booknews.com)

A pictorial study of the design art of the American Indian includes motifs drawn from every tribal and regional craft

Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art opening this October, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts.This accompanying book documents and expands on the histories and themes of this exciting exhibition. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.

In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.

In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.

A fresh exploration of Native American art that positions the work within the broader context of North American art history

Praise for the companion title Encyclopedia of Native Tribes of North America by Michael Johnson:"This substantial reference remains one of the most elaborately illustrated books on Native Americans now in print. ... Highly recommended for North American historical and ethnographical collections." -- Library Journal

Reprint of the 1983 book with new foreward, preface and introduction. Annotation c. by Book News, Inc., Portland, Or.