This work traces the development of the major craft arts, including basketry, pottery and textiles through the millennia of the Southwestern prehistory. Through the author's careful analysis and presentation, the emergence of artistic traditions and their relationships to other aspects of culture.

A fascinating exploration of the rich artistic heritage and beauty of Casas Grandes ceramics

Archaeologists seldom study ancient art, even though art is fundamental to the human experience. The Archaeology of Art in the American Southwest argues that archaeologists should study ancient artifacts as artwork, as applying the term 'art' to the past raises new questions about artists, audiences, and the works of art themselves. Munson proposes that studies of ancient artwork be based on standard archaeological approaches to material culture, framed by theoretical insights of disciplines such as art history, visual studies, and psychology. Using examples drawn from the American Southwest, The Archaeology of Art in the American Southwest discusses artistic practice in ancestral Pueblo and Mimbres ceramics and the implications of context and accessibility for the audiences of painted murals and rock art. Studies of Hohokam figurines and rock art illustrate methods for studying ancient images, while the aesthetics of ancient art are suggested by work on ceramics and kivas from Chaco Canyon. This book will be of interest to archaeologists working in the Southwest who want to broaden their perspective on the past. It will also appeal to archaeologists in other parts of the world and to anthropologists, art historians, and those who are intrigued by the material world, aesthetics, and the visual.

Fourteen authorities explore sociology, anthropology, art history of Native American creativity.

Anyone eager to master survival skills for outdoor vacations, or simply to find a fun new family activity for a Saturday afternoon, will be educated and inspired by the practical advice presented here by archaeologists, anthropologists, primitive practitioners, craftsmen, and artisans. These experts help modern readers rediscover the skills that have served humanity for millennia: fire-making, camp cooking, basket weaving, pottery making, animal tracking, and much more. You can even learn how to turn seashells into arrowheads or make glue from yucca plants. Plus, there’s intriguing information on the benefits of a hunter-gatherer diet. More than just a how-to, this handbook provides inspiration to live life to the fullest.

Puebloan Ruins of the Southwest offers a complete picture of Puebloan culture from its prehistoric beginnings through twenty-five hundred years of growth and change, ending with the modern-day Pueblo Indians of New Mexico and Arizona. Aerial and ground photographs, over 325 in color, and sixty settlement plans provide an armchair trip to ruins that are open to the public and that may be visited or viewed from nearby. Included, too, are the living pueblos from Taos in north central New Mexico along the Rio Grande Valley to Isleta, and westward through Acoma and Zuni to the Hopi pueblos in Arizona. In addition to the architecture of the ruins, Puebloan Ruins of the Southwest gives a detailed overview of the Pueblo Indians' lifestyles including their spiritual practices, food, clothing, shelter, physical appearance, tools, government, water management, trade, ceramics, and migrations.

This introduction to the art of tribal peoples of North America, Africa, and the South Pacific does not briefly cover the hundreds of artistic traditions in these three vast areas but rather studies in depth thirty-six art styles within all three areas using the methods of art history, including stylistic analysis and iconographic interpretation. Emphasis is on the art in cultural context and as a system of visual communication within each tribal area. Where appropriate for a more complete understanding of the art, data from archaeology, ethnology, linguistics, religion, and other humanistic disciplines are included.Among the peoples and cultures whose art is studied are the Haida, Kwakiutl, and Tlingit; the Hohokam and Mongollon, the Anasazi and Hopi; the Dogon and Bamana of Mali; the Asante of Ghana; the Benin, Yoruba, and Ibo of Nigeria; the Fan, the Bamum, and the Kuba of Central Africa; Australian aboriginal and Island New Guinea art; Island Melanesia art; central and eastern Polynesia; Hawaii and the Maori in Marginal Polynesia.The format of the text and selected illustrations is based on seventeen years of teaching African, North American Indian, and South Pacific art to undergraduate and graduate students at Herbert H. Lehman College (CUNY), New York University, and Columbia University. The book is intended for art history and anthropology students and the interested lay reader or collector. The detailed notes at the end of the book are for further study, research, and understanding of the tribal art style under discussion.

American Indian art has a long history and a vibrant and active modern-day community, something that has long interested collectors, historians, and anthropologists. In My Tree of Life as an Appraiser of American Indian ArtMy Viewpoint, author Leona M. Zastrow offers an examination of the past and present of American Indian art from her viewpoint as an art appraiser. She presents facts and details about Southwest American Indian art, considering its history and transitions and offers snapshot views of American Indian art. She also describes how people can donate their work to nonprofit organizations, explains several federal laws concerning Indian artists, and profiles several American Indian artists who created many of the items featured in these pages, including potters, jewelers, weavers, carvers, printers, and painters. Presented from the unique perspective of an appraiser, this collection of articles, originally written for a Santa Fe area publication, shines a new light on American Indian Art. A perfect reflection of a life lived in harmony with her roles as friend, teacher, appraiser, and collector of American Indian Art. Throughout the pages, we are offered a unique insight into a many-faceted world of wondrous American Indian art. Dr. Ginny Brouch, Phoenix, Arizona