The traditional arts of the Southwest are brought together in one volume for the first time. Comprehensive descriptions of Native American and Hispano art are accompanied by full-color photographs of art from museums, galleries, and private collections.
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.
This book provides an overview of the uses of turquoise in native arts of the Southwest, beginning with the earliest people who mined and processed the stone for use in jewelry, on decorative objects, and as a powerful element in ceremony. In the past, as now, turquoise was valued for its color and beauty but also for its symbolic nature: sky, water, health, protection, abundance. The book traces historical and contemporary jewelry made by Navajo, Zuni, Hopi, and Santo Domingo artisans, and the continuously inventive ways the stone has been worked.
A key to the interpretation of rock art of the American Southwest, providing descriptions and illustrations of rock art symbols, along with their ascribed meanings, and including general and specific information on rock art sites.
"O'odham artist Michael Chiago Sr.'s paintings provide a window into the lifeways of the O'odham people. This book offers a rich account of how Tohono O'odham and Akimel O'odham live in the Sonoran Desert now and in the recent past"--
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.