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Native North American Art
This exciting investigation explores the indigenous arts of the US and Canada from the early pre-contact period to the present day, stressing the conceptual and iconographic continuities over five centuries and across an immensely diverse range of regions. The richness of Native American art is emphasized through discussions of basketry, wood and rock carvings, dance masks, and beadwork, alongside the contemporary vitality of paintings and installations by modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier. Authors Berlo and Philips fully incorporate substantive new research and scholarship, and examine such issues as gender, representation, the colonial encounter, and contemporary arts. By encompassing both the sacred and secular, political and domestic, the ceremonial and commercial, Native North American Art shows the importance of the visual arts in maintaining the integrity of spiritual, social, political, and economic systems within Native North
American societies.
American societies.
304 pages, Paperback
First published November 19, 1998
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Displaying 1 - 6 of 6 reviews
November 15, 2022
I am giving this tedious work a mere three stars despite the fact that the authors clearly know the subject matter. I do not like some of the things that they chose to present and deplore many of their omissions. The worst problems however arise from the intensely political nature of Native North American Art which is not something that Berlo and Phillips are responsible for.
Disputes between Native bands and the white governments are constantly being waged over the issues of the ownership of artifacts, archeological excavations on sacred sites and control of the messaging wherever the objects are put on public display. In this context, it his hardly surprising then Berlo and Phillips begin with an introductory chapter that accounts for 16% of the book’s length on definitions and terms. Unfortunately, this is not enough to settle the issues. Smaller passages pop-up throughout the remaining six chapters in which the authors try to twist their ideas into the politically correct mode. I think that Berlo and Phillips defend themselves admirably but deplore the fact that they and Oxford University Press felt that the effort was necessary. One major consequence of the efforts of Berlo and Phillips to navigate their way through controversy is a text that is unclear and which fails to stimulate any interest in the subject matter.
I also had troubles with many of the omissions of the authors. There is a brief comment in passing on the Indian Mounds which are scattered throughout the U.S. but no pictures of these spectacular structures. Similarly there is no mention or discussion of the Peterborough Petroglyphs. The rock paintings found at over 500 sites on the pre-Cambrian shield are represented by a single, small black and white illustration. Berlo and Phillips cite Daphne Odjig as an authority on the Woodlands school of Northern Ontario but do not include any of her paintings. Their choice of paintings to represent Norval Morrisseau is curious at best. There are no pictures of the bone and soapstone sculptures of the Canadian Inuit. The Inuit drawings and prints are not illustrated.
Generally I found that American movements were better served than Canadian ones. I applaud the authors for giving respectful and insightful treatment of the woven baskets and ceramic pots produced in the Southwest which for other a century had been disdainfully omitted from serious studies on the grounds that the objects were simply souvenirs produced for the white market. Bead work finally gets the attention that it merits. The use of porcupine quills to decorate shoes and garments receives stellar coverage.
In general the chapters on the Southwest and the Northwest were excellent. There are very good descriptions of the efforts to train young natives in European art techniques. The section on the Santa Fe Studio school is outstanding.
Berlo and Phillips express concerns about the future. They note that Native North American Art has so far missed the postmodern and wonder when it will properly connect with the mainstream.
Disputes between Native bands and the white governments are constantly being waged over the issues of the ownership of artifacts, archeological excavations on sacred sites and control of the messaging wherever the objects are put on public display. In this context, it his hardly surprising then Berlo and Phillips begin with an introductory chapter that accounts for 16% of the book’s length on definitions and terms. Unfortunately, this is not enough to settle the issues. Smaller passages pop-up throughout the remaining six chapters in which the authors try to twist their ideas into the politically correct mode. I think that Berlo and Phillips defend themselves admirably but deplore the fact that they and Oxford University Press felt that the effort was necessary. One major consequence of the efforts of Berlo and Phillips to navigate their way through controversy is a text that is unclear and which fails to stimulate any interest in the subject matter.
I also had troubles with many of the omissions of the authors. There is a brief comment in passing on the Indian Mounds which are scattered throughout the U.S. but no pictures of these spectacular structures. Similarly there is no mention or discussion of the Peterborough Petroglyphs. The rock paintings found at over 500 sites on the pre-Cambrian shield are represented by a single, small black and white illustration. Berlo and Phillips cite Daphne Odjig as an authority on the Woodlands school of Northern Ontario but do not include any of her paintings. Their choice of paintings to represent Norval Morrisseau is curious at best. There are no pictures of the bone and soapstone sculptures of the Canadian Inuit. The Inuit drawings and prints are not illustrated.
Generally I found that American movements were better served than Canadian ones. I applaud the authors for giving respectful and insightful treatment of the woven baskets and ceramic pots produced in the Southwest which for other a century had been disdainfully omitted from serious studies on the grounds that the objects were simply souvenirs produced for the white market. Bead work finally gets the attention that it merits. The use of porcupine quills to decorate shoes and garments receives stellar coverage.
In general the chapters on the Southwest and the Northwest were excellent. There are very good descriptions of the efforts to train young natives in European art techniques. The section on the Santa Fe Studio school is outstanding.
Berlo and Phillips express concerns about the future. They note that Native North American Art has so far missed the postmodern and wonder when it will properly connect with the mainstream.
August 18, 2017
https://www.youtube.com/watch?v=ysPlI...
(conférence d'une des auteures)
(conférence d'une des auteures)
April 13, 2011
I read this book to go along with an exhibit at Denver Art Museum. Very informative
May 16, 2016
Great, thought-provoking introduction to the history and context for Native North American art (if you like dense, scholarly writing).
November 23, 2024
Some cool stuff on different practices and uses of art unheard of to me.
Like to read stuff about the relationship between art, and culture and history.
Like to read stuff about the relationship between art, and culture and history.
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April 16, 2018Love Heard Museum.
Displaying 1 - 6 of 6 reviews