This book combines extensive research with interviews granted by three Santa Clara potters. During the interviews, the author recorded and photographed each step -- from clay pit to market -- in the making of contemporary Santa Clara pottery. Collecting and preparing the clay, making slips and paints, modelling various kinds of vessels, sanding, smoothing, slipping, polishing, decorating, firing -- all are described and illustrated so thoroughly that the reader can experiment with the Santa Clara techniques himself if he wishes.
Members of a Tewa Indian family living in Santa Clara Pueblo in New Mexico follow the ages-old traditions of their people as they create various objects of clay.
Margaret Tafoya's paramount place in the evolution of Tewa Pueblo pottery in Santa Clara, New Mexico, includes a history of the Pueblo people, Margaret Tafoya's life, Santa Clara pottery-making techniques, and the Tafoya family and descendants. She has adhered to the traditions of her pueblo, and demonstrates the very best in Tewa Pueblo pottery.
In 1974 Seven Families in Pueblo Pottery was published to accompany an exhibit at the Maxwell Museum of Anthropology: twenty years later there are some 80,000 copies in print. Like Seven Families, this updated and greatly enlarged version by Rick Dillingham, who curated the original exhibition, includes portraits of the potters, color photographs of their work, and a statement by each potter about the work of his or her family. In addition to the original seven--the Chino and Lewis families (Acoma Pueblo), the Nampeyos (Hopi), the Guteirrez and Tafoya families (Santa Clara), and the Gonzales and Martinez families (San Ildefonso)--the author had added the Chapellas and the Navasies (Hopi-Tewa), the Chavarrias (Santa Clara), the Herrera family (Choti), the Medina family (Zia), and the Tenorio-Pacheco and the Melchor families (Santo Domingo). Because the craft of pottery is handed down from generation to generation among the Pueblo Indians, this extended look at multiple generations provides a fascinating and personal glimpse into how the craft has developed. Also evident are the differences of opinion among the artists about the future of Pueblo pottery and the importance of following tradition. A new generation of potters has come of age since the publication of Seven Families. The addition of their talents, along with an ever-growing interest in Native American pottery, make this book a welcome addition to the literature on the Southwest.
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.
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.
When this book first appeared in 1996, it was “Pottery 101,” a basic introduction to the subject. It served as an art book, a history book, and a reference book, but also fun to read, beautiful to look at, and filled with good humor and good sense. After twenty years of faithful service, it’s been expanded and brought up-to-date with photographs of more than 1,600 pots from more than 1,600 years. It shows every pottery-producing group in the Southwest, complete with maps that show where each group lives. Now updated, rewritten, and re-photographed, it's a comprehensive study as well as a basic introduction to the art.
Tammy Garcia, Form Without Boundaries, is a collection of images portraying Tammy’s extraordinary talent. She is regarded as the foremost Native American potter in the world today and in this magnificent coffeetable book provides glimpses of her sculpture and jewelry. Today, collectors buy her work by lottery as her pieces have become so sought after and her production for the public market is limited. The book tells of her heritage as a fourth generation Santa Clara pueblo potter and what inspires this beautiful, young, soft-spoken artisan. The narrative also introduces the layperson to pottery and the Native American culture. It is written by acknowledged experts in the field of Native American culture, art and collections. The book is a spectacular result of collaboration between an artist and those who are committed to preserving a culture through museums, collections and writing. This is the most dramatic, most beautiful,coffeetable book that will be available for the fall in 2003.
