Authentic design motifs of Sioux, Blackfoot, Apache, Cheyenne, other tribes. Abstract and floral motifs, human, animal and mythical figures.
With the inauguration of the Ottawa Art Gallery's new building in the fall of 2017, the exhibition dis k magan / Nous conna tre un peu nous memes / We'll all become stories launches as the definitive showcase of the artistic practices of the Ottawa Valley and the Outaouais region. This gorgeous companion catalogue draws together a broad selection of curators, artists, writers, art historians and community members to generate the most extensive and multilayered exploration of the region's art history and contemporary production to date. We'll all become stories provides an authoritative platform for not only the artistic practices of the national capital region, but also the geography, commerce, institutions and individuals that have shaped this cultural production. The project fills an information gap by addressing the historical and contemporary details of this currently under-researched and under-documented art scene. It captures the ever-changing perspectives of artists by situating the region's visual culture in relation to its multiple histories. While this story certainly considers ideas that have galvanized the area's artists since Confederation, it also explores the substantial artistic contributions of the Indigenous peoples of this region--namely the Anishinābe First Nations--both before and after this colonial marker. As such, the story is told from diverse perspectives, inclusive to the interests and histories of those who are or have been marginalized or hidden from view. Featuring 30 thematic sections written by guest authors as well as the exhibition curators (Rebecca Basciano, Jim Burant, Michelle Gewurtz and Catherine Sinclair), We'll all become stories contains an illustrated chronological timeline and over 150 stunning colour images of works across multiple media including paintings, prints, textiles, photography, fine craft, film, performance and conceptual installations. This bilingual English and French volume offers some Anishinābeg translation and provides a unique lens through which to view the nation's capital in this 150th year since Confederation. A lush and unprecedented tome, it is sure to be treasured by readers across the nation.
Full text, plus more than 700 precise drawings of basketry, sculpture, painting, pottery, sand paintings, metal, etc. 4 plates in color.
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.
Arts and Crafts of the Native American Tribes is the authoritative illustrated reference that has been carefully created to be a companion to Encyclopedia of Native Tribes of North America. It examines in detail how Native American culture evolved and considers the regional similarities and differences of the arts and crafts created by tribes across the continent. Contemporary and modern photographs, fine line illustrations and step-by-step reconstructions show the techniques of manufacture and display the skill and artistry of the crafters.
The book opens with concise coverage of the main cultural areas of North America and a survey of styles by region and over time. A major section on the living structures -- huts, tipis, igloos, etc. -- is followed by an analysis of individual crafts. These include:
Arts and Crafts of the Native American Tribes will continue to be a primary reference used by ethnographers, historians and collectors for years to come. It is essential for any library serving academic patrons.
Baskets made of baleen, the fibrous substance found in the mouths of plankton-eating whales--a malleable and durable material that once had commercial uses equivalent to those of plastics today--were first created by Alaska Natives in the early years of the twentieth century. Because they were made for the tourist trade, they were initially disdained by scholars and collectors, but today they have joined other art forms as a highly prized symbol of native identity. Baskets of exquisite workmanship, often topped with fanciful ivory carvings, have been created for almost a century, contributing significantly to the livelihood of their makers in the Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay, Alaska.
Baleen Basketry of the North Alaskan Eskimo, originally published in 1983, was the first book on this unusual basket form. In this completely redesigned edition, it remains the most informative work on baleen baskets, covering their history, characteristics, and construction, as well as profiling their makers. Illustrations of the basketmakers at work and line drawings showing the methods of construction are a charming addition to this book, which belongs in the library of all those with an interest in the art of basketry and in Alaskan Native arts in general.
Art historian Moira F. Harris analyzes the known Fort Marion drawings attributed to Wo-Haw, Kiowa warrior and artist (1855-1924), in relationship to then contemporary events.. Her work shows how Kiowa Indian painting developed from its traditional beginnings to the preset day. This most unusual colony of artists developed at Fort Marion, St. Augustine, Florida, where more than seventy men from five hostile tribes of the Southern Plains were imprisoned from 1875 to 1878. Their humanitarian jailer, Captain Richard H. Pratt, believed they could be made into useful productive citizens if given direction and the opportunity to develop their native abilities. He provided them with paper, pencils, and colors, and offered them the opportunity to produce art works for sale to whites. More than a third of these "Florida boys" participated and hundreds of their works are preserved in widely scattered public and private collections.
