Located in Los Angeles, California
Art of the West by
Since its founding in 1988, the Autry Museum of the American West has expanded its vision and its collections in profound ways. From its original focus on the history, art, and popular culture inspired by the West and its attendant myths, the museum--located in the heart of Los Angeles--has evolved to embrace a more inclusive, complex, and contemporary approach to the American West. Featuring more than 150 color images, this volume highlights the museum's Art of the West exhibit. Alongside these celebrated works of art, Art of the West showcases essays by prominent scholars and art historians who address various topics, ranging from motorcycles to beadwork and photography. Essays devoted to women's art, Native American art, and Chicano photography are important correctives to more traditional and linear models of western art history, with its emphasis on rugged masculinity, Anglo-American pioneers, and the myth of an "untamed" frontier. As Autry Museum curator Amy Scott explains in her introduction, there is not one West; instead, many Wests, comprising diverse collections of places and peoples, form a "complex tapestry of ethnic mixing and geopolitical spaces, diaspora, immigration, industry, infrastructure, tourism, and environmental degradation." By addressing such provocative themes, Art of the West challenges us to look beyond surface appearances, superficial caricatures, and cultural assumptions. The American West emerges as a dynamic place in which memory informs, but does not determine, the present.
When I Remember I See Red by
When I Remember I See Red: American Indian Art and Activism in California features contemporary art by First Californians and other American Indian artists with strong ties to the state. Spanning the past five decades, the exhibition includes more than sixty-five works in various media, from painting, sculpture, prints, and photography, to installation and video. More than forty artists are represented, among them pioneers such as Rick Bartow, George Blake, Dalbert Castro, Frank Day, Harry Fonseca, Frank LaPena, Jean LaMarr, James Luna, Karen Noble, Fritz Scholder, Brian Tripp, and Franklin Tuttle, as well as emerging and mid-career artists. Taking cues from their forebears, members of the younger generation often combine art and activism, embracing issues of identity, politics, and injustice to produce innovative--and frequently enlightening--work. The exhibition, along with the accompanying catalogue, transcends borders, with some California artists working outside the state, and several artists of non-California tribes living and creating within its boundaries. Diverse cultural influences coupled with the extraordinary dissemination of images made possible by technology have led to new forms of expression, making When I Remember I See Red a richly layered experience. Published in association with the Crocker Art Museum Exhibition dates: Crocker Art Museum, Sacramento: October 20, 2019-January 26, 2020 Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe: August 14, 2020-January 3, 2021 Autry Museum of the American West, Los Angeles: July 18, 2021-February 27, 2022
Located in Denver, Colorado
Native American Art in the Denver Art Museum by 
Art in Motion by
In the summer of 2012, the Denver Art Museum hosted a symposium titled Art in Motion: Native American Explorations of Time, Place, and Thought, which brought artists Charlene Holy Bear, Leena Minifie, and Kent Monkman together with scholars Kristin Dowell, Aldona Jonaitis, and Daniel C. Swan to discuss American Indian art, using the idea of motion as a unifying theme. The perspectives explored in this volume reveal how scholars and artists with different backgrounds can employ overarching themes, such as motion, to investigate topics in arts and culture. The first-person essays by artists Holy Bear, Minifie, and Monkman provide primary accounts of their artistic practices that have never been recorded or presented like this before. The chapters by Dowell, Jonaitis, and Swan present new directions in their scholarly research that are each, independent of this volume, important contributions to their fields. The authors explore wide-ranging subjects, including film and video, figurative sculpture, issues of representation and stereotypes, Native American Church art, and Tlingit dancing. The visionary talks from Art in Motion have been adapted for publication and gathered together with a new introduction by symposium organizer John P. Lukavic, associate curator of native arts at the Denver Art Museum.
Located in Indianapolis, Indiana
Conversations by
Conversations: Eiteljorg Contemporary Art Fellowship, 2015, the ninth iteration of the Eiteljorg Museum's acclaimed biennial art series, documents the strength, drama, determination, and storytelling genius of contemporary Native art and the artists who create it. Celebrating the work of Invited Artist Mario Martinez (Yaqui Pascua) and Eiteljorg Fellows Luzene Hill (Eastern Band of Cherokee), Brenda Mallory (Cherokee Nation), Da-ka-xeen Mehner (Tlingit/Nisgáa), and Holly Wilson (Delaware Tribe of Western Oklahoma/Cherokee), Conversations continues the dialogue of contemporary Native American art and artistic expression.
Native Art Now! by
The exhibition features 39 iconic works of Native art that the museum acquired primarily through its Eiteljorg Contemporary Art Fellowship, including installations, paintings, prints, sculptures and glass and fabric art. Visually compelling works from artists Truman Lowe, Allan Houser, Kay WalkingStick, Meryl McMaster and Nicholas Galanin among others are included Museum website
Located in Norman, Oklahoma
The Eugene B. Adkins Collection by
A native of Tulsa, Oklahoma, Eugene B. Adkins (1920-2006) spent nearly four decades acquiring his extraordinary collection of Native American and American southwestern art. His vast assemblage includes paintings, photographs, jewelry, baskets, textiles, and ceramics by many of the Southwest's most renowned artists and artisans. This stunning volume features full-color reproductions of significant works from the Adkins Collection, some of which are reproduced here for the first time. Adkins began collecting in the 1960s, when American southwestern art enjoyed a resurgence in popularity. Ultimately his holdings encompassed works by such distinguished American artists as Maynard Dixon, Dorothy Eugenie Brett, Charles Bird King, Alfred Jacob Miller, Charles M. Russell, and Joseph H. Sharp. In addition, Adkins was a passionate and prescient connoisseur of Native American art and artifacts, and his wide-ranging collection of works by Native artists includes paintings by T. C. Cannon, sculpture by María Martínez, and jewelry by Charles Loloma, all of which are represented in this book. Along with its rich photographic sampling of works by Native and non-Native artists, The Eugene B. Adkins Collection offers informative essays by art historians and curators, whose areas of expertise coincide with Adkins's own interests. The volume also features a foreword by David L. Boren, President of the University of Oklahoma, and a preface by Randall Suffolk, Director of the Philbrook Museum of Art in Tulsa, and Ghislain D'Humieres, Director of the Fred Jones Jr. Museum of Art at the University of Oklahoma. These two museums, which share a commitment to preserving Native American art and artifacts, are joint stewards of the Eugene B. Adkins Collection.
The James T. Bialac Native American Art Collection by
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
Located in Santa Fe, New Mexico
Making History by
Making History: The IAIA Museum of Contemporary Native Arts is a unique contribution to the fields of visual culture, arts education, and American Indian studies. Written by scholars actively producing Native art resources, this book guides readers--students, educators, collectors, and the public--in how to learn about Indigenous cultures as visualized in our creative endeavors. By highlighting the rich resources and history of the Institute of American Indian Arts, the only tribal college in the nation devoted to the arts whose collections reflect the full tribal diversity of Turtle Island, these essays present a best-practices approach to understanding Indigenous art from a Native-centric point of view. Topics include biography, pedagogy, philosophy, poetry, coding, arts critique, curation, and writing about Indigenous art.Featuring two original poems, ten essays authored by senior scholars in the field of Indigenous art, nearly two hundred works of art, and twenty-four archival photographs from the IAIA's nearly sixty-year history, Making History offers an opportunity to engage the contemporary Native Arts movement.
Visual voices : contemporary Chickasaw art by
This publication accompanies a traveling exhibition of the same title. The exhibition tour includes: Fred Jones Jr. Museum of Art, Norman, OK, June 8-Sept. 9, 2018; Mississippi Museum of Art, Jackson, Mississippi, March 2-June 2, 2019; IAIA Museum of Contemporary Native American Arts (MoCNA), Santa Fe, NM, Aug. 15, 2019-Jan. 19, 2020; The Brisco Museum of Western Art, San Antonio, TX, Sept. 17, 2020-Jan. 18 2021.
Exposure: Native Art and Political Ecology by
Indigenous artists worldwide respond to environmental destruction Documenting international Indigenous artists' responses to the impacts of nuclear testing, nuclear accidents and uranium mining on Native peoples and the environment, Exposure gives artists a voice to address the long-term effects of these manmade disasters on Indigenous communities in the United States and around the world. Indigenous artists from Australia, Canada, Greenland, Japan, the Pacific Islands and the US utilize local and tribal knowledge, as well as Indigenous and contemporary art forms as visual strategies for their works. Artists include: Carl Beam (Ojibway), De Haven Solimon Chaffins (Laguna/Zuni Pueblos), Miriquita "Micki" Davis (Chamoru), Bonnie Devine (Anishinaabe/Ojibwa), Joy Enomoto (kanaka maoli/Caddo), Solomon Enos (kanaka maloli), Kohei Fujito (Ainu), Kathy Jetñil-Kijiner (Marshallese-Majol), Alexander Lee (Hakka, Tahiti), Dan Taulapapa McMullin (Samoan), David Neel (Kwagu'l), No'u Revilla (kanaka maoli/maoli-Tahitian), Mallery Quetawki (Zuni Pueblo), Chantal Spitz (maohi), Adrian Stimson (Blackfoot), Anna Tsouhlarakis (Diné/Creek/Greek), Munro Te Whata (Maori/Ninuean) and Will Wilson (Diné).
Located in Minneapolis, Minnesota
Hearts of Our People by
Hearts of Our People: Native Women Artists explores the artistic achievements of Native women and establishes their rightful place in the art world. This landmark book includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases artists from more than seventy-five Indigenous tribes to reveal the ingenuity and innovation that have always been foundational to the art of Native women. Women have long been the creative force behind Native art. Hearts of Our People accompanies the first major exhibition of artwork by Native women, presented in close cooperation with top Native women artists and scholars, honoring the achievements of over 115 artists from the United States and Canada spanning over 1,000 years. Their triumphs--from pottery, textiles, and painting, to photographic portraits, to a gleaming El Camino--show astonishing innovation and technical mastery. Beautifully illustrated and enriched by the personal reflections, historical research, and artistic insights of leading scholars and artists in the field, Hearts of Our People: Native Women Artists pays tribute to the vital role and creative force of Native women artists, now and throughout time.
Beauty, Honor, and Tradition by
"Beauty, Honor, and Tradition: The Legacy of Plains Indian Shirts represents a powerful collaboration between two great museums - the National Museum of the American Indian/Smithsonian Institution, and The Minneapolis Institute of Arts - and two curators, father and son members of the A'aninin Indian Tribe of Montana. George P. Horse Capture, and his son, Joseph D. Horse Capture, bring different insights to this project as they explore new relationships among the shirts, the shirtmakers, the historians and scholars, and the audience of Indians and non-Indians alike."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Located in Oklahoma City, Oklahoma
Recovering ancient Spiro : Native American art, ritual, and cosmic renewal by
In eastern Oklahoma, on the banks of the Arkansas River, lies one of the most important ancient sites ever identified - the Spiro Mounds. Although they created one of the most highly-developed civilizations, the Spiroan people and their Mississippian peers are nearly forgotten in the pages of history. Explore the art, history, and singular nature of this ancient site as it rose from humble beginnings to become the most unique cultural and ceremonial center in pre-European contact North America. The quality, quantity, and variety of items discovered at Spiro is staggering. Thousands of objects, created in many different mediums, bear images of people deities, deity impersonators, animals, and mysterious composite creatures. Together, these objects form pictorial narratives that provide critical insight into the lives of the Mississippian people. Today's Native American communities in the American Southeast and the Plains, and possibly in Mesoamerica, are linked to Spiro through their use of similar imagery in historical works - hide paintings, ledger drawings, and tipi and shield covers - as well as in their twentieth-century paintings, sculpture, ceramics, basketry, and weavings. The story of Spiro is not limited to the past or focused solely on art. It is reflected in the everyday lives of people today. It is a story of how religion and the environments shape us, as illustrated through community developments, religious and ceremonial activities, farming and hunting practices, and daily life. Learn how a "Little Ice Age" beginning in AD 1350 and lasting until AD 1650 may have led to the site's decline and ultimate abandonment - an environmental threat similar to one we face today
Located in Washington D.C
Spirit Capture by
This work brings together two hundred of the most compelling images from the NMAI collection with essays from native American historian, anthropologists, and curators. Natasha Bonilla Martinez describes the sometimes intrusive tactics of filed photographers, who, in quest of authenticity, shot forbidden ceremonies or coerced unwilling subjects to pose. Richard W. Hill Sr., shows how formal portraits of once-feared native leaders such as Sitting Bull, Chief Joseph, and the Red Cloud effectively transformed their subjects into tamed icons. Linda Poolaw takes a personal approach to a selection of photographs by her father Horace Poolaw and others, speaking to their subjects and evoking the texture of their lives.
Located in Tulsa, Oklahoma
Visions and Voices by
One of the world's great collections of Native American painting is presented in this important catalog, which features reproductions of 484 paintings as well as a history of Native American painting based on interviews and scholarly research, including information on the development of Native American painting at Bacone College in Oklahoma and the role of the Philbrook's Indian Annual juried competition. From a ledger-style painting of the Battle of the Little Bighorn (c. 1892) to a canvas that expresses a Native view of the Vietnam War (c. 1971), the range of imagery represented here is amazingly broad. The catalog section includes biographical information on the artists as well as excerpts from interviews. Among the 160 artists represented here are Narciso Abeyta, Harrison Begay, Woody Crumbo, R. C. Gorman, Joe Herrera, Allan Houser, Oscar Howe, Fred Kabotie, Gerald Nailor, Jerome Tiger, Jimmy Toddy, and Pablita Velarde. Any scholar or serious collector of Native American art will need to refer to this book.
Woven Worlds by
Basketry has been woven into the rich tapestry of Native American cultures for centuries. Native American basket weavers have transformed twigs, grasses, roots, ferns, and bark into works of art that are unsurpassed for their beauty and technological skill. The Clark Field collection at the Philbrook Museum of Art in Tulsa, Oklahoma, is recognized as one of the most comprehensive basketry collections in North America. What started as a hobby for Clark Field, a Tulsa businessman, the collecting of Native American basketry soon became an obsession resulting in a collection of more than one thousand baskets. Field's goal to "collect authentic specimens of baskets made for actual use by all basket-making tribes" resulted in a collection of extraordinary baskets that tell of the remarkable adaptability of native peoples and how basketry enabled many of their traditions and values to continue. Following Clark Field's travels in his endeavor to amass his collection, we learn about the weavers and their baskets from eight major cultural areas: the Southwest, California, the intermountain West (including the Great Basin and Plateau), the Northwest Coast, Arctic and Subarctic, Prairie and Plains, the Eastern Woodlands (including the Northeast and Great Lakes), and the Southeast. A color map in each chapter enhances the description of the area and its indigenous cultures, historical information, and a discussion of basket weavers, including some interviews with weavers and/or their families.
Located in Santa Fe, New Mexico
About Face by
This catalogue accompanied a well-received exhibition organized by the Wheelwright Museum of the American Indian in 2006 featuring sixty-two self-portraits by indigenous artists from throughout the United States and Canada. The photographs and accompanying essays explore the artists' communal and cultural connections, and discuss the evolution of self-portraiture as a medium for empowerment and self-representation.
Maria by
Catalogue of an exhibition focused on potter Maria Martinez which opened at the Wheelwright Museum of the American Indian, June 15, 1980.
