Art of the American Southwest
Art of the American Southwest is the
Historic influences
Ancient Puebloan people
The
Common early pottery included corrugated gray ware pottery and decorated black-on-white pottery.
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Ancestral Pueblo olla, Cibola Whiteware, northeast Arizona
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Anasazi bowl (trade ware) dating from 900-1100 AD, excavated at Chaco Culture National Historical Park
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Mimbres Bowl with rabbit, AD 1000–1150
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Sikyátki dragonfly bowl, about 1400-1625 AD
Native American nations
Within the last millennium,
Colonial Spanish
With a need to be self-sufficient, many Hispanic people woodworking, weaving, tinsmith, farming and leather work skills to create the furniture and furnishings for their homes.[11]
Anglo-Americans
Ancient artistic traditions have been manifested in native craft for generations when Europeans began to settle in the American Southwest;[12] an important acknowledgement for understanding the inherent aesthetic allure of this area to the Anglo-American artists.[13]
Integration of influences
Silverworking was adopted by native Southwest artists beginning in the 1850s, when Mexican silversmiths had to trade their silverwork for cattle from the Navajo. The Zuni admired the silver jewelry made by the Navajos,[14] such as Atsidi Sani (Old Smith), so they began trading livestock for instruction in working silver. By 1890, the Zuni had taught the Hopi how to make silver jewelry.[14]
Native Americans were also influenced by the introduction of paintings made with oil and watercolor on canvas, where they traditionally painted objects such as hides or inside buildings, such as on the walls of a
Following
Basketry
Native Americans, including those of the American Southwest, traditionally make their baskets from the materials available locally.
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Hopi coiled basket, c. 1901, Ethnologischen Museum, Berlin-Dahlem
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Yellow Feather (Frank A. Rinehart
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Navajo basket, Museum of Anthropology, Vancouver, BC, Canada
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Luzi (Tohono O'odham) with coiled burden basket, with a supporting ring of yucca, photo by Edward S. Curtis
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Yavapai flat, coiled willow basket, Stanford University
Pottery
Acoma pottery
Acoma pottery, beginning over 1,000 years ago, traditional designs include thunderbirds, geometric patterns, and rainbows.[16] The pottery is made of fine local clay found on the pueblo to create the distinctively thin-walled pottery. The pottery is made in white and black and polychrome colors. Designs are pressed into all-white pottery with a fingernail or tool.[17] Potters from Acoma Pueblo during the 1950s include Marie Z. Chino and Lucy M. Lewis. Vera Chino Ely, the daughter of Marie Chino, is also a well-reputed potter of Acoma pottery.
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Acoma Pueblo polychrome jar, Field Museum of Natural History
Hopi pottery
In historical times,
In the late 20th century, Hopi-Tewa potter Paqua Naha from First Mesa, followed by her daughter Joy Navasie, Helen Naha "Feather Woman", and their children achieved international recognition for their traditionally made Hopi pottery.[19]
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Iris Nampeyo, Hopi-Tewa potter, 1900
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Jar made by Nampeyo about 1880
Santa Clara pottery
Santa Clara pottery is distinguished for its red polychrome and shiny black pottery.[20] It is also known for the having designs carved into the clay when the piece has dried to "leather hard."
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Double handed awanyu bowl. Made by Florence Browning. Source: National Park Service
San Ildefonso pottery
San Ildefonso pottery in noted for the black-on-black pottery brought to the San Ildefonso Pueblo in the early 20th century by Maria Martinez and her husband Julian Martinez when they rediscovered how to make the pottery.
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Maria and Julian Martinez matte-on-glossy blackware wedding vase, c. 1929, collection of the Fred Jones Jr. Museum of Art
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Black-on-BlackField Museum, Chicago.
Taos pottery
Zuni pottery
Zuni pottery is made from local clay which receives a ritualistic vow of thanks before it is gathered. It is painted with home-made organic dyes, using a traditional yucca brush. The intended function of the pottery dictates its shape and images painted on its surface. Firing of the pottery was usually a community enterprise, silence or communication in low voices was considered essential in order to maintain the original "voice" of the "being" of the clay, and the purpose of the end product.[23][24] Sales of pottery and traditional arts provide a major source of income for many Zuni people today. An artisan may be the sole financial support for her immediate family as well as others.
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Zuni olla, late 19th or early 20th century, 12.5" high, Brooklyn Museum.
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Zuni Ashiwi Polychrome Water Jar, 1700-1750, 11 1/4 x 13 1/4 x 13 1/4 in. Brooklyn Museum.
Textiles
Dr. Joe Ben Wheat examined thousands of 19th-century textiles,
Navajo textiles, such as handwoven blankets and rugs, are highly regarded, valued for over 150 years, and an important element of the Navajo economy.[27] Navajo textiles were originally utilitarian blankets for use as cloaks, dresses, saddle blankets, and similar purposes. Toward the end of the 19th century, weavers began to make rugs for tourism and export. Typical Navajo textiles have strong geometric patterns. They are a flat tapestry-woven textile produced in a fashion similar to kilims of Eastern Europe and Western Asia, but the warp is one continuous length of yarn and does not extend beyond the weaving as fringe.
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Navajo warp in progress. Source: John Hritz.
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Navajo blankets in the Hubbell Trading Post National Historic Site Ganado, Arizona
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Navajo Rug Source: Teofilo
Hopi weaving
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Hopi man weaving with a sley in both hands
Figures
Bultos
Bultos are three-dimensional, hand-carved religious figures, often of saints, introduced by the Spanish-Mexicans.[28][29]
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Spanish colonial bulto, Harwood Museum of Art. Source: Jay Cross.
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Bulto, Santa Clara Pueblo church.
Fetishes
Hand-carved or naturally formed fetishes that are believed to hold spiritual forces specific to certain animals and have been commonly used in
Frank Hamilton Cushing's publication Zuni Fetishes describes the Zuni world made up of six regions or directions. At the center of each region is a great mountain peak that is a very sacred place. Yellow mountain to the north, blue mountain to the west, red mountain to the south, white mountain to the east, the multi-colored mountain above, and the black mountain below. Each direction is represented by a "Prey God", or guardian animal each having protective or healing powers, and are listed by Cushing as follows:[citation needed] north - the mountain lion, south – the badger, east – the wolf, west – the black bear, the sky or upper – the multi-colored eagle, and the underground or lower – the black mole."[31]
Kachina dolls
Kachina images appeared in murals in kivas,
There are more than 400 different kachinas in Hopi and
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Kachina doll (fetish) of a Koshare, c. 19th century, private collection.
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Drawings of kachina dolls, from an 1894 anthropology book.
Kokopelli
Kokopelli is a hunchbacked
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Kokopelli petroglyph, BLM land near Embudo, New Mexico.
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Kokopelli.
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Phallic Kokopelli
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Kokopelli and Kokopelli Mana
Dolls and toys
Storyteller dolls
Sculpture
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For Life in all Directions, bronze sculpture byNMAI
Jewelry
Turquoise,
Hopi are renowned for their overlay silver work, developed in the 1940s. Zuni artists are admired for their cluster work jewelry, showcasing turquoise designs, as well as their elaborate, pictorial stone inlay in silver.
Beadwork
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Hohokam turquoise mosaics, found in 1925 in Casa Grande Ruins National Monument, Arizona
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Apache beadloom
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Apache beaded hide bag, Oklahoma History Center
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Mojave woman's beaded collar, c. 1930s–1940s, Heard Museum
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Ute beadwork
Silverwork
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Bai-De-Schluch-A-Ichin or Be-Ich-Schluck-Ich-In-Et-Tzuzzigi "Metal Beater" (Slender Silversmith, Navajo) with silver necklaces,concho belts, and tools, 1883
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old and new Navajo bracelets with turquoise
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Pueblo necklace with turquoise heishe-style beads, early 20th century, Walters Art Museum
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Navajo squash blossom necklace with naja pendant
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Silver overlay bolo tie, by Tommy Singer (Navajo)
Spanish tinwork
Tinware, likely introduced from Mexico and Spain, was used for religious adornments and household objects, such as sconces and mirrors and became increasingly popular in the mid-19th century.[42]
Two-dimensional art
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Life drawing class at Phoenix Indian School, 1900
Paintings
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Hide painting byChiricahua Apache), c. 1900, depicting an Apache girl's puberty ceremony, Oklahoma History Center
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Western Apache handpainted playing cards, c. 1875-1885, rawhide, Arizona, National Museum of the American Indian
Santos
Santos, developed in the late 17th century, are religious icons painted on a flat board (retablos) or carved out of wood (bultos).[43]
Exhibitions and institutions
Many annual art events showcase Southwestern art. The
See also
Communities
- Taos art colony, New Mexico
- Puebloan peoples
- Acoma Pueblo, New Mexico
- San Ildefonso Pueblo, New Mexico
- Santa Clara Pueblo, New Mexico
- Taos Pueblo, New Mexico
- Zuni Pueblo, New Mexico
Events
Museums
- Albuquerque Museum of Art and History, New Mexico
- Amerind Foundation, Arizona
- Anasazi Heritage Center, Colorado
- Heard Museum of Native Cultures and Art, Arizona
- Hopi Cultural Center, Arizona
- Indian Pueblo Cultural Center, New Mexico
- Institute of American Indian Arts, New Mexico
- Millicent Rogers Museum, New Mexico
- Museum of Indian Arts and Culture, New Mexico
- Museum of Northern Arizona, Arizona
- Phoenix Art Museum, Arizona
- Southwest Museum of the American Indian, California
- Wheelwright Museum of the American Indian, New Mexico
Notes
- ^ Southwestern United States Free Dictionary. Retrieved January 18, 2012.
- ^ Pritzker, pp. 3-4
- ^ Pueblo Indian History. Archived 2011-10-08 at the Wayback Machine Crow Canyon Archaeological Center. Retrieved 10-9-2011.
- ^ Ancestral Puebloan Chronology (teaching aid). Mesa Verde National Park, National Park Service. Retrieved 10-16-2011.
- ^ a b "Ancestral Hopi Pottery." Archived 2008-02-08 at the Wayback Machine Arizona State Museum. 2007 (retrieved 14 Aug 2010)
- ISBN 0-8263-2179-8.
- ^ Ancestral Hopi Pottery. Archived 2008-02-08 at the Wayback Machine Arizona State Museum, University of Arizona. Retrieved January 17, 2012.
- ^ a b Pritzker, p. 4
- ISBN 978-0-8160-6274-4.
- ^ Brody et al, p. 9.
- ^ "Hispanic Arts and Crafts". Collections. Millicent Rogers Museum. Archived from the original on 2010-11-25. Retrieved 2011-06-02.
- ^ "Artists of the Taos Pueblo". Taos Pueblo. Retrieved 2011-05-29.
- ^ a b Witt, D (2003). "Three Taos Pueblo Painters". Traditional Fine Art Online, Inc. Archived from the original on 2011-07-03. Retrieved 2011-05-30.
- ^ a b Hewett, Edgar. Native Peoples of the American Southwest. 1968
- ^ Bernstein and Rushing, p. 14
- ^ David Zax (2008). "Ancient Citadel". Archived 2012-01-30 at the Wayback Machine Travel. Smithsonian Magazine. Retrieved January 18, 2012.
- ISBN 1-56440-151-0.
- ^ "Form and Meaning in Indigenous Aesthetics: A Hopi Pottery Perspective". American Indian Art Magazine. 32. Autumn 2007.
- ^ Pecina 163
- ^ Santa Clara Pueblo. National Park Service. Retrieved January 16, 2012.
- ^ Suazo Dubray. Through the Eyes of the Pot, Artists. L. D. Holmes Museum.
- ^ Anderson, D. (1999). "All That Glitters: The Emergence of Native American Micaceous Art Pottery in Northern New Mexico." School of American Research Press. p. 62.
- ^ Morrell, Virginia. "The Zuni Way ." Archived 2013-09-05 at the Wayback Machine Smithsonian Magazine. April 2007 (retrieved 13 Feb 2011)
- ISBN 0803270070
- ^ Wheat, J.B. (2003) Blanket Weaving in the Southwest, edited by Ann Lane Hedlund, Tucson, AZ, University of Arizona Press.
- ^ University of Arizona. The Books. The University of Arizona Press. Tucson Arizona. Retrieved March 31.
- ^ Mauer, Evan M. Maurer. (1986). "Determining Quality in Native American Art" in The Arts of the North American Indian: Native Traditions in Evolution. New York: Philbrook Art Center. p. 150.
- ISBN 1-55670-109-8.
- ^ ISBN 1-56440-151-0.
- ^ "Animals: fact and folklore," New Mexico Magazine, August 2008, pp. 56-63.
- ^ a b Indian Fetishes: Southwest tribal miniature carvings that some say are imbued with spirit forces. The Collector's Guide. Retrieved January 17, 2012.
- ^ Ancestral Pueblo - Pueblo IV. Archived 2014-09-03 at the Wayback Machine Anthropology Laboratories of the Northern Arizona University. Retrieved 10-12-2011.
- ^ Ancient Farmers. Petrified Forest National Park, National Park Service. Retrieved 10-16-2011.
- ISBN 978-0-7643-4429-9
- ^ "Millicent Rogers Museum". Taos Museums. Museum Association of Taos. Archived from the original on 2011-08-30. Retrieved 2011-06-02.
- ^ "Kachina". Collection. Millicent Rogers Museum. Archived from the original on 2010-11-25. Retrieved 2011-06-02.
- ^ Wright, Barton; Roat, Evelyn. (1965). "This is a Hopi Kachina." Museum of Northern Arizona. p. 4.
- ISBN 9780865410268.
- ^ Welker, Glenn. "Kokopelli Legends & Lore". Indigenous Peoples Literature. 1993-2008. Retrieved January 18, 2012.
- ^ Larson, Jack Lenor. (1995). Folk Art from the Global Village. Santa Fe, NM: Museum of New Mexico Press.
- ^ "Helen Cordero (1915- )." AskArt. Retrieved 11 April 2012.
- ^ "Tinwork". Collections. Millicent Rogers Museum. Retrieved 2011-06-02.
- ^ "Santos". Collections. Millicent Rogers Museum. Archived from the original on 2010-12-18. Retrieved 2011-06-02.
- ^ "Southwestern Association for Indian Art." Retrieved 12 April 2012.
- ^ "Gallup Inter-Tribal Indian Ceremonial." Archived 2012-03-26 at the Wayback Machine New Mexico. Retrieved 12 April 2012.
- ^ "Learn about the Fair." Archived 2012-04-13 at the Wayback Machine Arizona State Museum. Retrieved 12 April 2012
- ^ "Heritage Program Festivals." Archived 2012-03-12 at the Wayback Machine Museum of Northern Arizona. Retrieved 12 April 2012.
- ^ "Spanish Market." Archived 2012-03-27 at the Wayback Machine New Mexico. Retrieved 12 April 2012.
References
- Bernstein, Bruce, and W. Jackson Rushing. (1995). Modern by Tradition: American Indian Painting in the Studio Style. Santa Fe: Museum of New Mexico Press. ISBN 0-89013-291-7.[1]
- Brody, J. J., Catherine J. Scott, Steven A. LeBlanc. (1983). Mimbres Pottery: Ancient Art of the American Southwest: Essays. American Federation of Arts. ISBN 0-933920-46-6.
- Pritzker, Barry M. (2000). A Native American Encyclopedia: History, Culture, and Peoples. New York: Oxford University Press. ISBN 0-19-513877-5.
- Pecina, Ron and Pecina, Bob. Hopi Kachinas: History, Legends, and Art. pp163-167. Schiffer Publishing Ltd., 2013. ISBN 978-0-7643-4429-9