This work chronicles the life and pottery of Maria Martinez in a tribute ofoth the artist and one America's greatest natural resources.

Major events in the life of Maria Martinez and her husband Julian who revived the ancient Pueblo Indian craft of pottery-making.

A survey of photographers and photography of the American Southwest from 1870-1970. Includes Ansel Adams, Eliot Porter, Paul Strand, Edward Weston, and Laura Gilpin.

Chicago Public Library Best Informational Books for Younger Readers 2021 Kirkus Best Picture-Book Biographies of 2021 STARRED REVIEW! "Through masterful storytelling and graceful illustrations, this impactful title embodies Maria Povika Martinez's famous words: 'The Great Spirit gave me [hands] that work...but not for myself, for all Tewa people.'"—School Library Journal starred review STARRED REVIEW! "This story of a young girl from San Ildefonso Pueblo...celebrates the strong sense of culture and identity the Tewa people have maintained through the centuries. A deserved celebration."—Kirkus Reviews starred review The untold story of a Native American Indian potter who changed her field. The most renowned Native American Indian potter of her time, Maria Povika Martinez learned pottery as a child under the guiding hands of her ko-ōo, her aunt. She grew up to discover a new firing technique that turned her pots black and shiny, and made them—and Maria—famous. This inspiring story of family and creativity illuminates how Maria's belief in sharing her love of clay brought success and joy from her New Mexico Pueblo to people all across the country.

Longlisted for the 2018 National Book Award in Poetry Winner of the National Poetry Series Competition, selected by Cornelius Eady--an exploration in verse of imperial appropriation and Mexican American cultural identity "Marvelous, argumentative, and curiosity-provoking" --The New York Times Book Review The poems in J. Michael Martinez's third collection of poetry circle around how the perceived body comes to be coded with the trans-historical consequences of an imperial narrative. Engaging beautiful and otherworldly Mexican casta paintings, morbid photographic postcards depicting the bodies of dead Mexicans, the strange journey of the wood and cork leg of General Santa Anna, and Martinez's own family lineage, Museum of the Americas gives accounts of migrant bodies caught beneath, and fashioned under, a racializing aesthetic gaze. Martinez questions how "knowledge" of the body is organized through visual perception of that body, hypothesizing the corporeal as a repository of the human situation, a nexus of culture. Museum of the Americas' poetic revives and repurposes the persecuted ethnic body from the appropriations that render it an art object and, therefore, diposable.

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Lucy is one of the small number of craftspeople of genius in this century. Her importance is in the way she has dipped into the past, taken ancient designs and techniques, and transformed them into new statements. She has quickened and vitalized her ancestral traditions, and in so doing has given the world beautiful and unleashed a creative power in her own community, having inspired a whole new generation of Acoma pottery-makers.

Primarily a women's art, American Indian pottery reflects a heritage of powerful social, religious, and aesthetic values. Even now, modern American Indian women use the clay, paint, and fire of pottery making to express themselves, creating designs that range from dutifully traditional to strikingly original. This book - written in conjunction with one of the most important exhibitions of American Indian pottery ever mounted - provides an in-depth look at a unique North American art form.