"I argue for a history of Native American art that is politically informed," Margaret Dubin writes, "and for a criticism of contemporary Native American fine arts that is historically founded." Integrating ethnography, discourse analysis, and social theory in a careful mapping of the Native American art world, this insightful new study explores the landscape of 'intercultural spaces' -- the physical and philosophical arenas in which art collectors, anthropologists, artists, historians, curators, and critics struggle to control the movement and meaning of art objects created by Native Americans. Dubin examines the ideas and interactions involved in contemporary collecting, in particular, to understand how marketplace demands have homogenised Western perceptions of 'authentic' Native American art. In doing so, she reveals the power relations of an art world in which Native American artists work within and against a larger system that seeks to control people by manipulating objects.

This landmark publication reevaluates historical Native American art as a crucial but under-examined component of American art history. The Charles and Valerie Diker Collection, a transformative promised gift to The Metropolitan Museum of Art, includes masterworks from more than fifty cultures across North America. The works highlighted in this volume span centuries, from before contact with European settlers to the early twentieth century. In this beautifully illustrated volume, featuring all new photography, the innovative visions of known and unknown makers are presented in a wide variety of forms, from painting, sculpture, and drawing to regalia, ceramics, and baskets. The book provides key insights into the art, culture, and daily life of culturally distinct Indigenous peoples along with critical and popular perceptions over time, revealing that to engage Native art is to reconsider the very meaning of America. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

This volume brings together for the first time the known writings of the pioneering Native American religious and political leader, intellectual, and author, Samson Occom (Mohegan; 1723-1792). The largest surviving archive of American Indian writing before Charles Eastman (Santee Sioux; 1858-1939), Occom's writings offer unparalleled views into a Native American intellectual and cultural universe in the era of colonialization and the early United States. His letters, sermons, journals, prose, petitions, and hymns--many of them never before published--document the emergence of pantribal political consciousness among the Native peoples of New England as well as Native efforts to adapt Christianity as a tool of decolonialization. Presenting previously unpublished and newly recovered writings, this collection more than doubles available Native American writing from before 1800.

A GUIDE TO UNDERSTAND NATIVE AMERICAN LEARNERS AND ISSUES IN TEACHING AND MOTIVATING STUDENTS TO LEARN.

This catalogue includes 139 Native North American works of art that represent many peoples and a variety of materials and functions, presented here for their aesthetic value.-- Metropolitan Museum of Art website.

This text is a comprehensive examination of Native American art, containing introductions for each of the eight culture areas as well as 34 regional sections. The majority of works covered in the book are from the historic period - some as early as 500 BC - but contemporary pieces are also covered.

2010 Maverick Award winner, 2011 Aesop Prize Winner – Children's folklore section, and a 2011 Eisner Award Nominee. All cultures have tales of the trickster – a crafty creature or being who uses cunning to get food, steal precious possessions, or simply cause mischief. He disrupts the order of things, often humiliating others and sometimes himself. In Native American traditions, the trickster takes many forms, from coyote or rabbit to raccoon or raven. The first graphic anthology of Native American trickster tales, Trickster brings together Native American folklore and the world of comics. In Trickster, 24 Native storytellers were paired with 24 comic artists, telling cultural tales from across America. Ranging from serious and dramatic to funny and sometimes downright fiendish, these tales bring tricksters back into popular culture.

Art of the American Indian Frontier examines an incomparable collection of nineteenth-century Native American art from the North American Woodlands, Prairie, and Plains. The collection resulted from the efforts of Milford G. Chandler and Richard A. Pohrt, whose early childhood fascination with the Indian frontier past evolved into a deep and comprehensive interest in Native American ceremonies, beliefs, and art. Though neither was wealthy or enjoyed the sponsorship of a museum, they traveled extensively early in the twentieth century, buying or trading for objects they could not resist. This volume presents the Detroit Institute of Art's Chandler-Pohrt collection with detailed documentation and commentary. Clothing and accessories of porcupine quill and buckskin, woven textiles, bags, beadwork, necklaces, rawhide paintings, smoking pipes, tools, vessels and utensils, pictographs, and visionary paintings are portrayed in 220 stunning color plates. Complementing the illustrations are essays dealing with historical context, ethnographic issues, and the lives and philosophies of the collectors.

The teachings of the Native Americans provide a connection with the land, the environment, and the simple beauties of life. This collection of writings from revered Native Americans offers timeless, meaningful lessons on living and learning. Taken from writings, orations, and recorded observations of life, this book selects the best of Native American wisdom and distills it to its essence in short, digestible quotes — perhaps even more timely now than when they were first written. In addition to the short passages, this edition includes the complete Soul of an Indian, as well as other writings by Ohiyesa (Charles Alexander Eastman), one of the great interpreters of American Indian thought, and three great speeches by Chiefs Joseph, Seattle, and Red Jacket.

One of the most important collections of modern Native American art assembled by one individual, the James T. Bialac Native American Art Collection is an encyclopedic compilation of easel paintings and three-dimensional works. Showcased in this stunning catalogue, the collection comprises nearly four thousand items, including drawings, sculptures, prints, kachinas, jewelry, ceramics, rattles, baskets, and textiles. James T. Bialac began collecting art in the 1950s, when he was a student at the University of Arizona School of Law. It was then that he purchased the first of what would develop into a collection of more than one thousand kachina dolls. In 1964 he acquired his first painting, Robert Chee's Moccasin Game, and he went on to expand his collection to reflect the diversity of Native American art forms. Inspired by his connections with other collectors, Bialac learned the importance of documenting, cataloging, and preserving his collection. In 2010 he bequeathed the collection to the University of Oklahoma, where the art will be displayed at the Fred Jones Jr. Museum of Art, as well as at other locations, including Bialac's native Arizona. The Bialac Collection represents indigenous cultures across North America, especially the Pueblos of the Southwest, Navajos, Hopis, and many of the tribes of the Great Plains. It encompasses such important and innovative artists as Fred Kabotie, Alfonso Roybal, Fritz Scholder, Joe Hilario Herrera, Allan Houser, Jerome Tiger, Tonita Peña, Helen Hardin, Pablita Velarde, George Morrison, Walter Richard "Dick" West, and Patrick DesJarlait, all of whose work is featured in this volume. Along with its rich sampling of works from the Bialac Collection, this catalogue offers informative essays by art historians, who draw on their areas of expertise to explain the significance of the artwork. The volume also features a foreword by David L. Boren, President of the University of Oklahoma, a preface by Ghislain d'Humières, Director of the Fred Jones Jr. Museum of Art, and an introduction by Mary Jo Watson, Director of the School of Art and Art History. Published in cooperation with the Fred Jones Jr. Museum of Art, University of Oklahoma