A heavily illustrated history & appreciation of the contribution of the Fred Harvey Company to the preservation and promotion of Indian art. Serves as the catalog of an exhibit--through April 1997-- at the Heard Museum in Phoenix. c. Book News Inc.

The decorative art of the Indians of the American Southwest has long been recognized as one of the most beautiful art traditions in the primitive world. It demonstrates a technical skill with simple materials, a symbolic richness, and a faculty for creating rich effects by the imaginative use of ornament that are all almost unique. Museums use Pueblo ceramics for display pieces, and modern artists and crafters have turned eagerly to the handwork of prehistoric Indian women for inspiration and working ideas. Mrs. Dorothy Sides, a noted artist and collector, has gathered together and redrawn in black and white nearly 300 examples of the finest authentic Southwestern Indian decoration that she has seen in a lifetime of study. She has not limited her selection to one period or style, however; to make her book as useful as possible, she has selected material ranging from the thirteenth century great geometric art of the Pueblos to the handcrafts carried on by the nomadic and Pueblo peoples of the present. The main emphasis of this volume is on ceramic decoration, and Mrs. Sides includes pieces from the rich archeological sites of Pecos, Sikyatki, the Mimbres, and modern Pueblo pottery from Acoma, Zuni, Cochiti, and the Hopi. She also includes designs and motifs from the basketry of the Apache, Pima, and Papago; beadwork from the Mohave; authentic Zuni masks; Hopi kachina dolls; and sand paintings and blanket designs from the Navajo. This broad coverage of beautiful ornament illustrates many different art styles to fit every situation: geometric designs based upon balanced mirror fields of design, symbolic figures of the thunderbird, and modern stylizations. All is beautiful and imaginative. Any crafter working with ceramics will find this book indispensable as a source of rich, easily used, powerful design; workers in wood, weavers, metal workers, and leather workers will find that it will enlarge their decorative resources considerably. It also offers unusual and eye-catching designs for commercial artists who wish to do work suggesting travel, handcrafts, the Southwest, or the social sciences. Individual drawings are royalty-free and may be reproduced without fee or permission. "Worthy of an honored place in the library of aboriginal American art." — F. H. Hodge, Director, Southwestern Museum.

The comprehensive book on Indian petroglyphs in the Southwest.

By analyzing ways in which indigenous cultures described the American Southwest, David Teague persuasively argues against the destructive approach that Americans currently take to the region. Included are Native American legends and Spanish and Hispanic literature. As he traces ideas about the desert, Teague shows how literature and art represent the Southwest as a place to be sustained rather than transformed. 14 illustrations.

The Barnes Foundation's historic Pueblo and Navajo collections are explored alongside works by contemporary Native American artists This richly illustrated book makes the Barnes Foundation's exceptional collection of Native American art from the Southwest available to the public for the first time. Collector and educator Albert C. Barnes traveled to the U.S. Southwest in 1930 and 1931 and, deeply impressed by the generative art practices he saw there, formed a collection of Pueblo and Navajo pottery, textiles, and jewelry. Water, Wind, Breath illuminates the materials, forms, and designs of the objects as they relate to Pueblo and Navajo histories and ideas. The book blends postcolonial and Indigenous perspectives, introducing readers to living artistic traditions filled with purpose, intention, and a deeply embedded spirituality that connects places, practices, and Native identities. Works by contemporary Native American artists are juxtaposed with historic pieces, illuminating the connections between heritage traditions and modern practices.

For the Southwestern Indians, painting was a natural part of all the arts and ceremonies through which they expressed their perception of the universe and their sense of identification with nature. It was wholly lacking in individualism, included no portraits, singled out no artists. But the roving life of the Plains Indians produced a more personal art. Their painted hides were records of an individual's exploits intended, not to supplicate or appease unearthly powers, but to gain prestige within the tribe and proclaim invincibility to an enemy. Plains painting served man-to-man relationships, Southwestern painting those of man to nature, man to God. Such characteristics, and the ways they persist in contemporary Indian painting, are documented by the 157 examples Miss Dunn has chosen to illustrate her story. Thirty-three of these pictures, in full color, are here published for the first time.

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 illuminating and provocative book is the first anthology devoted to Twentieth Century Native American and First Nation art. Native American Art brings together anthropologists, art historians, curators, critics and distinguished Native artists to discuss pottery, painitng, sculpture, printmaking, photography and performance art by some of the most celebrated Native American and Canadian First Nation artists of our time The contributors use new theoretical and critical approaches to address key issues for Native American art, including symbolism and spirituality, the role of patronage and musuem practices, the politics of art criticism and the aesthetic power of indigenous knowledge. The artist contributors, who represent several Native nations - including Cherokee, Lakota, Plains Cree, and those of the PLateau country - emphasise the importance of traditional stories, myhtologies and ceremonies in the production of comtemporary art. Within great poignancy, thye write about recent art in terms of home, homeland and aboriginal sovereignty Tracing the continued resistance of Native artists to dominant orthodoxies of the art market and art history, Native American Art in the Twentieth Century argues forcefully for Native art's place in modern art history.

Native American pottery of the U.S. southwest has long been considered collectible and today can fetch many thousands of dollars per piece. Authors, collectors, and dealers Carol and Allen Hayes provide readers with a concise overview of the pottery of the southwest, from its origins in the Bastketmaker period (around 400 AD) to the Spanish entrada (1540 AD-1879 AD) to today's new masters. Readers will find dozens of color images depicting pottery from the Zuni, Hopi, Anasazi, and many other peoples. Maps help readers identify where these master potters and their peoples lived (i.e. the Pueblo a tribal group or area). Pottery of the Southwest will serve as a useful introduction as well as a lovely guide for enthusiasts.