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Author: W. Jackson Rushing Publisher: ISBN: Category : Art Languages : en Pages : 280
Book Description
Avant-garde art between 1910 and 1950 is well known for its use of "primitive" imagery, often borrowed from traditional cultures in Africa and Oceania. Less recognized, however, is the use United States artists made of Native American art, myth, and ritual to craft a specifically American Modernist art. In this groundbreaking study, W. Jackson Rushing comprehensively explores the process by which Native American iconography was appropriated, transformed, and embodied in American avant-garde art of the Modernist period. Writing from the dual perspectives of cultural and art history, Rushing shows how national exhibitions of Native American art influenced such artists, critics, and patrons as Marsden Hartley, John Sloan, Mabel Dodge Luhan, Robert Henri, John Marin, Adolph Gottlieb, Barnett Newman, and especially Jackson Pollock, whose legendary drip paintings he convincingly links with the curative sand paintings of the Navajo. He traces the avant-garde adoption of Native American cultural forms to anxiety over industrialism and urbanism, post-World War I "return to roots" nationalism, the New Deal search for American strengths and values, and the notion of the "dark" Jungian unconscious current in the 1940s. Through its interdisciplinary approach, this book underscores the fact that even abstract art springs from specific cultural and political motivations and sources. Its message is especially timely, for Euro-American society is once again turning to Native American cultures for lessons on how to integrate our lives with the land, with tradition, and with the sacred.
Author: W. Jackson Rushing Publisher: ISBN: Category : Art Languages : en Pages : 280
Book Description
Avant-garde art between 1910 and 1950 is well known for its use of "primitive" imagery, often borrowed from traditional cultures in Africa and Oceania. Less recognized, however, is the use United States artists made of Native American art, myth, and ritual to craft a specifically American Modernist art. In this groundbreaking study, W. Jackson Rushing comprehensively explores the process by which Native American iconography was appropriated, transformed, and embodied in American avant-garde art of the Modernist period. Writing from the dual perspectives of cultural and art history, Rushing shows how national exhibitions of Native American art influenced such artists, critics, and patrons as Marsden Hartley, John Sloan, Mabel Dodge Luhan, Robert Henri, John Marin, Adolph Gottlieb, Barnett Newman, and especially Jackson Pollock, whose legendary drip paintings he convincingly links with the curative sand paintings of the Navajo. He traces the avant-garde adoption of Native American cultural forms to anxiety over industrialism and urbanism, post-World War I "return to roots" nationalism, the New Deal search for American strengths and values, and the notion of the "dark" Jungian unconscious current in the 1940s. Through its interdisciplinary approach, this book underscores the fact that even abstract art springs from specific cultural and political motivations and sources. Its message is especially timely, for Euro-American society is once again turning to Native American cultures for lessons on how to integrate our lives with the land, with tradition, and with the sacred.
Author: Bill Anthes Publisher: Duke University Press ISBN: 9780822338666 Category : Art Languages : en Pages : 330
Book Description
This lavishly illustrated art history situates the work of pioneering mid-twentieth-century Native American artists within the broader canon of American modernism.
Author: Janet Catherine Berlo Publisher: University of Washington Press ISBN: 9780295972022 Category : Art Languages : en Pages : 268
Book Description
This collection of essays deals with the development of Native American art history as a discipline rather than with particular art works or artists. It focuses on the early anthropologists, museum curators, dealers, and collectors, and on the multiple levels of understanding and misunderstanding, a
Author: W. Jackson Rushing III Publisher: Routledge ISBN: 1136180036 Category : Art Languages : en Pages : 252
Book Description
This illuminating and provocative book is the first anthology devoted to Twentieth Century Native American and First Nation art. Native American Art brings together anthropologists, art historians, curators, critics and distinguished Native artists to discuss pottery, painitng, sculpture, printmaking, photography and performance art by some of the most celebrated Native American and Canadian First Nation artists of our time The contributors use new theoretical and critical approaches to address key issues for Native American art, including symbolism and spirituality, the role of patronage and musuem practices, the politics of art criticism and the aesthetic power of indigenous knowledge. The artist contributors, who represent several Native nations - including Cherokee, Lakota, Plains Cree, and those of the PLateau country - emphasise the importance of traditional stories, myhtologies and ceremonies in the production of comtemporary art. Within great poignancy, thye write about recent art in terms of home, homeland and aboriginal sovereignty Tracing the continued resistance of Native artists to dominant orthodoxies of the art market and art history, Native American Art in the Twentieth Century argues forcefully for Native art's place in modern art history.
Author: Elizabeth Hutchinson Publisher: Duke University Press ISBN: 0822392097 Category : Art Languages : en Pages : 304
Book Description
In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.
Author: Judith Ostrowitz Publisher: Seattle : University of Washington ; Vancouver : UBC Press ISBN: 9780774807531 Category : Art Languages : en Pages : 201
Book Description
What makes Northwest Coast Native American art authentic? And why,when most of art history is a history of the avant-garde, is traditionso deeply valued by contemporary Native American artists and theirpatrons? In Privileging the Past Judith Ostrowitz approachesthese questions through a careful consideration of replicas,reproductions, and creative translations of past forms of NorthwestCoast dances, ceremonies, masks, painted screens, and houses. Ostrowitzexamines several different art forms -- two very differentarchitectural constructions, a dance performance, and modern sculpturesand dance paraphernalia -- considering their relations to arts of thepast. Ostrowitz draws on an extensive body of interviews she conductedwith tribal leaders, artists, and artisans long known and highlyrespected in both Native and non-Native venues. Throughout the book, wehear their voices -- members of the Alfred, Cranmer, Hunt, Tallio andWebster families, and many other individuals -- as they relate theirresponses to the modern adaptation of their cultural heritage. Privileging the Past explores intellectual issues raised bypostmodern theory, supported by detailed studies of projects that willinterest a boad audience of students, historians, museum-goers, andthose intrigued by Native American art and cultural history.
Author: American Indian Artists Inc. (AMERINDA)-Staff Publisher: ISBN: 9780989856508 Category : Art Languages : en Pages : 51
Book Description
The Old Becomes the New: New York Movement in Contemporary Native Art and the New York School, an historical survey exhibition of twenty three contemporary Native American artists living and working in New York City (1943-2013) together with five highly seminal artists of the New York School. This is the first exhibition revealing the historical relationship between the New York School and the evolution of Native modernism. The exhibition highlights a comprehensive selection of distinguished Native American artists, all members of the New York Contemporary Native American Arts Movement; one of the lesser known Native Arts movements in the United States outside of Santa Fe, New Mexico, that is urban based. A select few of these artists were directly influenced by abstract expressionism, the New York School and, to a lesser extent, Pop art. Succeeding generations of Native artists continued some of the visual languages and sensibilities of their progenitors. Some used abstract-expressionist language and modernist language, as well as other visual references particular to their own traditions or self-expression. They produced work that was grandly diverse, sometimes reflecting the urban environment in which they found themselves. Some of the New York School artists in the show, who were themselves influenced by traditional Native American design aesthetic; who then influenced contemporary Native artists, in some cases personally are Roy Lichtenstein, Jackson Pollock, Robert Rauschenberg, Theodoros Stamos and Esteban Vicente. Although he always proudly shared his Native heritage, The Rauschenberg Foundation has confirmed that this is the first ?Contemporary Native? show where the late Mr. Rauschenberg's work has been included.
Author: Brendan January Publisher: Capstone Classroom ISBN: 9781410921185 Category : Art Languages : en Pages : 60
Book Description
This series takes an in-depth look at both the decorative and functional art and design of a given culture. The engaging text explains how the art ties in to the culture, what it means, why it was created, and what it's used for or represents. Fine art, architecture, music and theater, cookware, clothing and textiles and other topics are all discussed. Feature boxes highlight fascinating bits of information on a specific topic, such as African embroidery.
Author: W. Jackson Rushing
Author: W. Jackson Rushing
Author: William Jackson Rushing
Author: W. Jackson Rushing
Author: Bill Anthes
Author: Janet Catherine Berlo
Author: W. Jackson Rushing III
Author: Elizabeth Hutchinson
Author: Judith Ostrowitz
Author: American Indian Artists Inc. (AMERINDA)-Staff
Author: Brendan January