User:Uyvsdi/Native American art

Illustration by Angel de Cora

Eusebio Víctor Choque Quispe, Aymara draftsperson, painter, sculptor, from La Paz, Bolivia. In 1996, he won one of Bolivia's most prestigous national awards, the Pedro Domingo Murillo Grand Prize in painting.

Of crafts, Dawn Ades writes, "For from being inferior, or purely decorative, crafts like textiles or ceramics, have always had the possibility of being the bearers of vital knowledge, beliefs and myths" (Ades 5).

Ades, Dawn. Art in Latin America: The Modern Era 1820-1980. New Haven: Yale University Press, 2006. ISBN 978-0300045611.

Installation art

• Rebecca Belmore, Ojibway, b. 1960
• James Luna, Luiseño, b. 1950
• Nora Naranjo-Morse, Santa Clara Pueblo, b. 1953
• Shelley Niro, Mohawk, b. 1954
• Jolene Rickard, Iroquois-Tuscarora, b. 1956
• Tanis Maria S'eiltin, Tlingit
• C. Maxx Stevens, Seminole Tribe of Oklahoma
• Charlene Teters, Spokane, b. 1952
• Marie Watt, Seneca, b. 1967

Jewelry

Atsidi Sani, Charles Loloma, Charles Edenshaw, inlay, shell engraving, silversmithing

• Ruthe Blalock Jones
• Lloyd Kiva New
• Jereldine Redcorn

Painting and drawing

The 20th and 21st centuries marked the increase use of mainstream Western and Asian art media and techniques used by Native artists; however, it should be noted that traditional hide painting, rock painting, ceramic painting, Northeastern formline painting, and, in the Amazon, body painting are still very much alive today. At the turn of the 20th century, many artists schooled in traditional methods expanded their art practices to include easel arts, such as Navajo rock artist, Klah-Tso (Big Lefthanded); Kiowa calendar-keeper and ledger artist Silver Horn (1860/1-1940) and Ernest Spybuck (Shawnee, 1883-1949). The majority of Native American boarding schools had art programs at the turn of the century. For example, Ho-chunk painter Angel De Cora studied art at Hampton Institute and taught Native American art at Carlisle Indian School.

Ledger art was a major movement among Plains Indians from the 1860s to 1920s, in which, the men's pictorial narrative hide painting traditional was transferred to Western materials such as watercolors or colored pencils on paper or cloth. This tradition was revived after the 1960s-1970s Indian power movement, and is growing in popularity with both men and women participating.

Directly influenced by Silver Horn and Fort Marion prisoners, the Kiowa Five attended a special art program at the University of Oklahoma, working with Swedish-American artist Oscar Jacobson. Jacobson sent their paintings to the 1928 International Art Congress in Prague, Czech Republic, where they met with international acclaim. Their works were printed in "Kiowa Art", a portfolio of pochoir prints made in France. The Kiowa Five directly inspired a number of Southern Plains artists, including Kiowa-Caddo-Choctaw T. C. Cannon (1946-1978).

Navajo Sandpainting, a healing ritual process not for public viewing, gave birth to a more secularized art form, in which designs are created by colored sands permanently affixed to a surface such as a board.

The ancient and unbroken Pueblo tradition of painting ceramics and murals gave birth to San Ildefonso Pueblo School of painting, active in New Mexico in the 1910s and 1920s. Hopi easel artists were also active in this time period in Arizona. Their efforts gave rise to the Studio Style taught at the Santa Fe Indian School in the 1930s and 1940s.

Combining Plains, Southeastern, Prairie tribal painting traditions, Bacone College in Muscogee, Oklahoma had an active art department from the 1930s onward. Prominent Native painters such as Acee Blue Eagle (Muscogee Creek-Pawnee-Wichita), Woody Crumbo (Potawatomi), Dick West (Cheyenne), Ruthe Blalock Jones (Delaware-Shawnee-Peoria), and currently Tony Tiger (Sac and Fox Nation) have directed this Native American art program.

During the Great Depression, New Deal programs in the United States funded Native American murals throughout Indian country and Washington, DC. A unique program on Seneca Nation reservations in New York, Indian Arts Project of 1935 to 1941 commissioned many traditional arts but also over 200 easel paintings.

Mayan and Nahuatl artists have an unbroken chain of mural painting tradition. The Mexican Muralist movement inspired indigenous muralist movements north and south of Mexico. Diego Rivera (Mestizo) was one of the most prominent muralists of the mid-20th century. His subject matter wedded pre-Columbian imagery with political and scientific develops of the time and calls for social justice. His wife, Frida Kahlo (Mestiza) became the first Mexican artist to be featured in the Louvre and her work has sold for more than any other Mexican artist. Her themes were personal and visionary. Zapotec painter Rufino Tamayo drew upon contemporary art movements Cubism, Impressionism, and Fauvism with the goal to create a ew, uniquely Mexican painting style.

Andrés Curruchich (Kaqchikel, 1891-1969) painted Mayan lifeways and inspired a colony of over 500 artists at San Juan Comalapa, Guatemala. Luis Rolando Ixquiac Xicara (Mayan, b. 1947) continues the Maya Naïve art tradition today.

In Ecuador, Camilo Egas (Mestizo, 1889-1962) and Oswaldo Guayasamín (Quechua, 1919-1999) helped found that country's Indigenismo Movement in the late 1920s. Both artists' work was political charged and including highly emotional images of faces and hands.

The Escuela Nacional de Bellas Artes in Lima, Peru fostered many artistic careers, including that of Mario Urteaga Alvarado (Quechua, who became the first Peruvian painter to be included in the Museum of Modern Art's collection.

Colombia Bolivia

hide painting, Kiowa Six, Southern Plains style, T.C. Cannon Oscar Howe, Philbrook Museum of Art

• 1957: West Baffin Eskimo Co-op Ltd., an Inuit graphic arts workshop is founded by James Archibald Houston in Cape Dorset, Nunavut.
• 1958: Yankton Dakota artist Oscar Howe (1915-1983) writes his famous letter after his work was rejected from the Philbrook Museum art show for not being "Indian" enough

San Ildefonso School, Fred Kabotie, Dorothy Dunn's Studio, "Bambi Art" Norval Morrisseau and the Woodlands Style Fritz Scholder, Pablita Velarde Ecuadorian painters include: Oswaldo Guayasamín, Camilo Egas and Eduardo Kingman from the Indiginist Movement.

Other traditional forms

• Quillwork
• Mazinibaganjigan

Institutions and venues

• National Museum of the American Indian
• Institute of American Indian Arts
• National Cowboy & Western Heritage Museum
• Santa Fe Indian Market

Laws

• Indian Arts and Crafts Act of 1990
• Native American Graves Protection and Repatriation Act

Guatemalan Mayan weavers Maya weavers. Mayan culture. back strap loom

File:Abstract Crown Dancer I .jpg

Abstract Crown Dancer I, fabricated bronze, 1991, by Allan Houser. The most complex of the fabricated bronze editions created late in his career with nearly 120 patterns used to craft this modern form of the Apache's most revered dance figure.

References

• Alegria, Ricardo and Jose Arrom. Taino: Pre-Columbian Art and Culture from the Caribbean. New York City: Monacelli Press, 1998. ISBN 978-1885254825.
• Bennett, Wendell C. Ancient Arts of the Andes. New York: The Museum of Modern Art, 1954.
• Berrin, Kathleen, ed. The Spirit of Ancient Peru: Treasures from the Museo Arqueológico Rafael Larco Herrera. London: Thames & Hudson. 1997.
• Bernstein, Bruce and Gerald McMaster. First American Art: The Charles and Valerie Diker Collection of American Indian Art. Washington, DC: Smithsonian National Museum of the American Indian, 2004.
• Bruhns, Karen Olsen. Ancient South America. Cambridge: Cambridge University Press, 1994.
• Cawthorne, Nigel. The Art of the Aztecs. San Diego: Laurel Glen Publishing, 1999.
• Chancy, Jill R. By Native Hands: Woven Treasures from the Lauren Rogers Museum of Art. Laurel, Mississippi: Lauren Rogers Museum of Art, 2005.
• Clark, John E. and Mary E. Pye, ed. Olmec Art and Archaeology in Mesoamerica. New Haven, CT: Yale University Press, 2006.
• Dye, David H. ed. Cave Archaeology of the Eastern Woodlands: Essays in Honor of Patty Jo Watson. Knoxville: University of Tennessee Press, 2008
• Geoffery-Schneiter, Bérénice. Primal Arts: Native Indians, Eskimos, Aborigines. New York: Assouline Publishing, 2006.
• Grimes, John R., Christian F. Feest, and Mary Lou Curran. Uncommon Legacies: Native American Art from the Peabody Essex Museum. Seattle: University of Washington Press, 2002.
• Hansen, Emma I. Memory and Vision: Arts, Cultures, and Lives of Plains Indian People. Seattle: University of Washington Press, 2007.
• Longhena, Maria. Ancient Mexico: The History and Culture of the Maya, Aztecs, and Other Pre-Columbian Peoples. Verselli, Italy: White Star s.p.a., 2006.
• Miller, Mary and Simon Martin. Courtly Art of the Ancient Maya. San Francisco: Fine Arts Museums of San Francisco, 2004.
• Moseley, Michael E. The Incas and their Ancestors. London: Thames & Hudson, 2001.
• Muench, David and Donald G. Pike. Anasazi: Ancient People of the Rock. Palo Alto, CA: American West Publishing Company, 1974.
• Peckham, Stewart. From this Earth: The Ancient Art of Pueblo Pottery. Santa Fe: Museum of New Mexico Press, 1990.
• Penney, David W. Native Arts of North America. Paris: Pierre Terrail Editions, 1998.
• Penny, David W. North American Indian Art. London: Thames & Hudson, 2004.
• Power, Susan C. Art of the Cherokee: Prehistory to Present. Athens, Georgia: University of Georgia Press, 2007.
• Power, Susan C. Early Art of the Southeastern Indians: Feathered Serpents & Winged Beings. Athens, Georgia: University of Georgia Press, 2004.
• Ragghianti, Carlo Ludovico. National Museum of Anthropology: Mexico City. New York: Newsweek Inc & Arnoldo Mondadori Editore, 1970.
• Shaw, George Everett. Art of the Ancestors: Antique North American Indian Art. Aspen, Colorado: Aspen Art Museum, 2004.
• Strutin, Michal. Chaco: A Cultural Legacy. Tucson, AZ: Western National Parks Association, 1994.
• Vincent, Gilbert T. Masterpieces of American Indian Art: From the Eugene and Clare Thaw Collection. New York: Harry N. Abrams, 1995.
• Wyckoff, Lydia L. ed. Woven Worlds: Basketry from the Clark Field Collection at the Philbrook Museum. Tulsa, OK: Philbrook Museum of Art, 2001.

Caverna da Pedra Pintada

Paleoindian Cave Dwellers in the Amazon: The Peopling of the Americas Encyclopedia of Prehistory: South America

University of Illinois anthropology professor Anna Roosevelt coordinated in 1996 an archaeological team that searched the Caverna da Pedra Pintada, in Monte Alegre, Pará on the banks of the Amazon River, only a few kilometers of present day Santarém. The prehistoric Brazilians of that region supported themselves with a steady economy and had produced an advanced culture and technology. These ancient Indians lived comfortably in caves and proteges, had a healthful diet, and produced ceramics, paintings and arrowheads. They hunted small animals and collected fruits. In the height of their civilization, they had arrived to shelter about 300,000 individuals. Tips of spear and dated shards of ceramics of 6,000 had been found the 10,000 years. The results had concluded that the Paleo-Indians (the first inhabitants of Americas) had lived behind in the Amazon region of 11,200 to 10,000 years ago. They are convincing tests of that the occupation human being in America if gave has 20,000 years more than. Still thus, the discoveries of Roosevelt had not yet refuted total the hypothesis of the arrival of the first inhabitants of America for the Bering Strait. The migratory movement would have occurred in leads successive. The Amazonian populations, whose signals found in the cave of the Painted Rock, probably migraram for the south without having had contact with the hunters of American mammoths.

Based on archaeological evidence from an excavation at Caverna da Pedra Pintada, human inhabitants first settled in the Amazon region at least 11,200 years ago.

• In Country: Pedra Pintada. Dispatches from Brasil. 15 Feb 2009

This cave contains the "oldest firmly dated examples of art in the Western Hemisphere."

Native or Mestizo Peruvian painters

• Diego Cusihuamán, muralist, early 17th c.
• Lima Francisco Padilla, Peru
• Gregorio Gamarra, Peru, early 17th c.
• Felipe Guaman Poma de Ayala (Peru), c. 1550-after 1616
• Martín de Loayza (Peru), mestizo, painter and gilder, mid-17th c.
• Diego Quispe Tito (Quechua, Peru), painter, cc172, born in San Sebastian, 1611
• Basilio Santa Cruz Pumacallao (Quechua, Peru), painter, cc169
• Luis de Riaño, born in Lima, early 17th c.
• Antonio Sinchi Roca Inca (Quechua) painter
• Don Francisco Tito Yupanqui (Anasaya, Peru), sculptor, 1550-1616, cc175
• Marcos Zapata, active (1710-1773) aka Marcos Sapaca Inca, Peru

Possibly\Probably

• Urcos Chinchero, early 17th c.
• Mauricio Garcia, mid-18th c.
• Mark Rivera, b. Cuzco, 1830s

References

• Berlo, Janet C. and Ruth B. Phillips. Native North American Art. Oxford: Oxford University Press, 1998: 97-8. ISBN 978-0-19-284218-3.
• Fane, Diana, ed. Converging Cultures: Art & Identity in Spanish America. New York: Harry N. Abrams, 1996. ISBN 0-87273-134-0.
• Greene, Candace S. and Russel Thornton, ed. The Year the Stars Fell: Lakota Winter Counts at the Smithsonian. Washington, DC: Smithsonian Institution, 2007. ISBN 0-8032-2211-4
• Hessel, Ingo. Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum. Phoenix: Heard Museum, 2006. ISBN 978-1-555365-189-5.
• Josephy, Alvin M., Jr. The Indian heritage of America. Boston: Mariner Books, 2001. ISBN 978-0395573204.
• Libhart, Myles. Contemporary Sioux Painting. Rapid City, SD: Indian Arts and Crafts Board, 1970. ASIN B001Y46FHS.
• McFadden, David Revere and Ellen Napiura Taubman. Changing Hands: Art without Reservation 2: Contemporary Native North American Art from the West, Northwest and Pacific. New York: Museum of Arts and Design, 2005. ISBN 1-890385-11-5.
• Silverman, Helaine and William Isbell, eds. Handbook of South American Archaeology. New York: Springer Publishing, 2008. ISBN 978-0387752280.
• Wolfe, Rinna Evelyn. ‘’Edmonia Lewis: Wildfire in Marble.’’ Parsippany, New Jersey, 1998. ISBN 0-382-39714-2

Cultural sensitivity and repatriation

Not everything made by Native peoples are meant to be viewed by the public. Many sacred objects or items that contain medicine are only meant to be seen or touched by certain individuals with specialized knowledge. Many Pueblo and Hopi katsina figures, (tihü in Hopi and kokko in Zuni) and katsinam regalia are not meant to be seen by individuals who have not been received instruction about that particular katsina. Many are not displayed publicly out of respect for tribal taboos.

Two Mohawk leaders sued a museum, trying to remove a False Face Society mask or Ga:goh:sah from an exhibit because "it was a medicine object intended to be seen only by community members and that its public display would cause irreparable harm to the Mohawk." The Grand Council of the Haudenosaunee are clear that these masks are not for sale or public display, nor are Corn Husk Society masks.

Mide birch bark scrolls are deemed too culturally sensitive for public display, as are medicine bundles, certain sacred pipes and pipe bags, and other tools of medicine people.

Tribes and individuals within tribes do not always agree about what is or is not appropriate to display to the public. In general Ghost Dance regalia is preferably not exhibited. Among other institutions, the Brooklyn Museum does not exhibit Plains warrior's shields or "artifacts imbued with a warrior's power" at the suggestion of tribal leaders. Many tribes do not want grave goods or items associated with burials, such as funerary urns, in museums, and many would like these associated grave goods reinterred, a process often facilitated within the United States by the Native American Graves Protection and Repatriation Act (NAGPRA). In Canada, repatriation is negotiated between the tribes and museums or through Land Claims. In international situations, institutions are not always legally required to repatriate indigenous cultural items to their place of original, some museums do so voluntarily, as with Yale University's decision to return 5,000 artifacts and human remains to Cusco, Peru.

References

• Crawford, Suzanne J. and Dennis F. Kelley, eds. American Indian Religious Traditions: An Encyclopedia, Volume 1. Santa Barbara, CA: ABC-CLIO, 2005. ISBN 978-1576075173.
• Phillips, Ruth B. "A Proper Place for Art or the Proper Arts of Place? Native North American Objects and the Hierarchies of Art, Craft and Souvenir." Lynda Jessup with Shannon Bagg, eds. On Aboriginal Representation in the Gallery. Seattle: University of Washington Press, 2002. ISBN 978-0660187495.