Download The James T Bialac Collection full books in PDF, epub, and Kindle. Read online free The James T Bialac Collection ebook anywhere anytime directly on your device. Fast Download speed and no annoying ads. We cannot guarantee that every ebooks is available!
| Author | : Clara Lee Tanner |
| Publisher | : |
| Total Pages | : 56 |
| Release | : 1968 |
| Genre | : Indian art |
| ISBN | : |
An overview of the paintings by Indians of the Southwest in the James T. Bialac collection at the Arizona State Museum includes analyses of Rio Grande Pueblo, Hopi, Zuni, Navajo, and Apache painting.
| Author | : Fred Jones Jr. Museum of Art |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2012 |
| Genre | : Art |
| ISBN | : 9780806143040 |
One of the most important collections of modern Native American art assembled by one individual, the James T. Bialac Native American Art Collection is an encyclopedic compilation of easel paintings and three-dimensional works. Showcased in this stunning catalogue, the collection comprises nearly four thousand items, including drawings, sculptures, prints, kachinas, jewelry, ceramics, rattles, baskets, and textiles. James T. Bialac began collecting art in the 1950s, when he was a student at the University of Arizona School of Law. It was then that he purchased the first of what would develop into a collection of more than one thousand kachina dolls. In 1964 he acquired his first painting, Robert Chee's Moccasin Game, and he went on to expand his collection to reflect the diversity of Native American art forms. Inspired by his connections with other collectors, Bialac learned the importance of documenting, cataloging, and preserving his collection. In 2010 he bequeathed the collection to the University of Oklahoma, where the art will be displayed at the Fred Jones Jr. Museum of Art, as well as at other locations, including Bialac's native Arizona. The Bialac Collection represents indigenous cultures across North America, especially the Pueblos of the Southwest, Navajos, Hopis, and many of the tribes of the Great Plains. It encompasses such important and innovative artists as Fred Kabotie, Alfonso Roybal, Fritz Scholder, Joe Hilario Herrera, Allan Houser, Jerome Tiger, Tonita Peña, Helen Hardin, Pablita Velarde, George Morrison, Walter Richard "Dick" West, and Patrick DesJarlait, all of whose work is featured in this volume. Along with its rich sampling of works from the Bialac Collection, this catalogue offers informative essays by art historians, who draw on their areas of expertise to explain the significance of the artwork. The volume also features a foreword by David L. Boren, President of the University of Oklahoma, a preface by Ghislain d'Humières, Director of the Fred Jones Jr. Museum of Art, and an introduction by Mary Jo Watson, Director of the School of Art and Art History. Published in cooperation with the Fred Jones Jr. Museum of Art, University of Oklahoma
| Author | : Zena Pearlstone |
| Publisher | : iUniverse |
| Total Pages | : 310 |
| Release | : 2018-05-17 |
| Genre | : Art |
| ISBN | : 1532038011 |
Although Hopi carver Brian Honyouti (1947-2016) was deeply embedded in his culture and produced ritual artworks throughout his life, he nevertheless also created unique commercial artworks. The latter, the focus of this volume, increasingly diverged from the world view embodied in Hopi art, ceremony, and philosophy to become a new form of storytelling. While it is unlikely that anyone familiar with Hopi carvings (dolls) would look to Honyoutis artworks expecting to unearth political, social, or environmental truths and circumstances, these are, nonetheless, the messages he determined to convey. In Brian Honyouti: Hopi Carver, art historian Zena Pearlstone explores the ideas Honyouti sought to communicate through his work. She examines as well how he transmitted them by turning a traditional art form, the carved representations of katsinas, into a modernistic critique of local Native American and global concerns. It is as a result of these universal implications that Honyoutis art will endure. Because Honyoutis attachment to Hopi culture was so profound, he veiled his critical reflections with humor and imagination to avoid exposing too much to public scrutiny. Feeling that there should be a public record of his intentions, however, he set aside many of his self-imposed limitations when he agreed to collaborate with Pearlstone. It was his hope that having made his intentions public for the first time, his work would be seen as a window into Hopi life as well as a reflection of contemporary mainstream American society.
| Author | : Heard Museum |
| Publisher | : |
| Total Pages | : 22 |
| Release | : 199? |
| Genre | : Art, American |
| ISBN | : 9780934351539 |
| Author | : Lorrin R Thomas |
| Publisher | : Routledge |
| Total Pages | : 667 |
| Release | : 2017-09-29 |
| Genre | : History |
| ISBN | : 1351678736 |
Rethinking the Struggle for Puerto Rican Rights offers a reexamination of the history of Puerto Ricans’ political and social activism in the United States in the twentieth century. Authors Lorrin Thomas and Aldo A. Lauria Santiago survey the ways in which Puerto Ricans worked within the United States to create communities for themselves and their compatriots in times and places where dark-skinned or ‘foreign’ Americans were often unwelcome. The authors argue that the energetic Puerto Rican rights movement which rose to prominence in the late 1960s was built on a foundation of civil rights activism beginning much earlier in the century. The text contextualizes Puerto Rican activism within the broader context of twentieth-century civil rights movements, while emphasizing the characteristics and goals unique to the Puerto Rican experience. Lucid and insightful, Rethinking the Struggle for Puerto Rican Rights provides a much-needed introduction to a lesser-known but critically important social and political movement.
| Author | : Elizabeth Harney |
| Publisher | : Duke University Press |
| Total Pages | : 315 |
| Release | : 2018-11-01 |
| Genre | : Art |
| ISBN | : 0822372614 |
Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world. Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano
| Author | : Stephen W. Hill |
| Publisher | : Kiva Publishing |
| Total Pages | : 68 |
| Release | : 1995 |
| Genre | : Art |
| ISBN | : 9781885772060 |
Explores the historical journey and spiritual significance of the Hump Back Flute Player in a series of original paintings and commentaries.
| Author | : Anne Barajas Harp |
| Publisher | : University of Oklahoma Press |
| Total Pages | : 743 |
| Release | : 2015-07-08 |
| Genre | : History |
| ISBN | : 0806152354 |
David Ross Boyd stepped off the train in Norman, Oklahoma, on August 6, 1892, and looked toward the southwest. “There was not a tree or shrub in sight,” wrote the former Kansas school superintendent just hired to serve as the University of Oklahoma’s first president. “Behind me was a crude little town of 1,500 people, and before me was a stretch of prairie on which my helpers and I were to build an institution of culture.” By 1895, five years after the University’s official founding, the school boasted four faculty members (three men and one woman) and 100 students. Today the campus is home to more than 30,000 students and 2,700 full-time faculty and is one of the most respected public universities in the nation, with twenty-one colleges offering hundreds of majors at the bachelor’s, master’s, and doctoral level. OU’s remarkable journey from that treeless prairie to its present standing as a world-class institution of learning unfolds in The Sooner Story. Arriving upon the university’s 125th anniversary, the book updates a history that last left off in 1980, when William Slater Banowsky was at the helm. Author Anne Barajas Harp examines the school’s history through the lens of each presidential administration from the beginning of David Ross Boyd’s tenure to the present moment in David Lyle Boren’s presidency, now in its third decade. In describing what each president encountered in his turn, she captures the unique character, challenges, and accomplishments of each administration, as these reflect the university’s growth and progress through the twentieth and early twenty-first centuries. “Discouraged?” Boyd wrote at his arrival in 1892. “Not a bit. The sight was a challenge.” The Sooner Story conveys the inspiration and excitement of meeting and renewing that challenge over the past 125 years.
| Author | : Sascha T. Scott |
| Publisher | : University of Oklahoma Press |
| Total Pages | : 281 |
| Release | : 2015-01-21 |
| Genre | : Art |
| ISBN | : 080615151X |
Attracted to the rich ceremonial life and unique architecture of the New Mexico pueblos, many early-twentieth-century artists depicted Pueblo peoples, places, and culture in paintings. These artists’ encounters with Pueblo Indians fostered their awareness of Native political struggles and led them to join with Pueblo communities to champion Indian rights. In this book, art historian Sascha T. Scott examines the ways in which non-Pueblo and Pueblo artists advocated for American Indian cultures by confronting some of the cultural, legal, and political issues of the day. Scott closely examines the work of five diverse artists, exploring how their art was shaped by and helped to shape Indian politics. She places the art within the context of the interwar period, 1915–30, a time when federal Indian policy shifted away from forced assimilation and toward preservation of Native cultures. Through careful analysis of paintings by Ernest L. Blumenschein, John Sloan, Marsden Hartley, and Awa Tsireh (Alfonso Roybal), Scott shows how their depictions of thriving Pueblo life and rituals promoted cultural preservation and challenged the pervasive romanticizing theme of the “vanishing Indian.” Georgia O’Keeffe’s images of Pueblo dances, which connect abstraction with lived experience, testify to the legacy of these political and aesthetic transformations. Scott makes use of anthropology, history, and indigenous studies in her art historical narrative. She is one of the first scholars to address varied responses to issues of cultural preservation by aesthetically and culturally diverse artists, including Pueblo painters. Beautifully designed, this book features nearly sixty artworks reproduced in full color.
