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The article discusses the 100th anniversary of the "Indian Citizenship Act of 1924," and the theme of the current issue, "Art as Historical Method." Information is presented on the authors and Indigenous artists featured in the issue.

An article by David Martínez, on the Heard Museum 2023 to 2024 exhibit "Arriving Forever into the Present World", with an afterword by Velma Kee Craig is presented. The article discusses the topic of the exhibit which aims to bring Indigenous pottery, basketry, and weaving into the context of contemporary American Indian society.

The article focuses on the Old Copper Culture in Eastern North America, examining the utilization of native copper for tools, weapons and spiritual objects by early Indigenous cultures. It discusses the Old Copper Complex's duration, the distribution of float copper deposits and the misconception that most artifacts originated from the Great Lakes area.

Copyright of Intersecoes: Revista de Estudios Interdisciplinares is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay examines the use of Olmec colossal heads as a central motif in the late work of Aubrey Williams (1926–90). Focusing on four key paintings, Chato Presence (1982), Night and the Olmec (1983), Chato III (1984) and Hymn to the Sun IV (1984), it connects the colossal heads' appearance to themes of decolonialism, diaspora and cross‐culturality, which are fundamental for understanding the artist's transnational life and practice. The works belonged to an epic cycle of forty oil on canvas paintings known as the Olmec–Maya series, which were first exhibited in London in 1985 and represented the culmination of Williams's lifelong engagement with Indigenous American aesthetics and archaeology. By locating the colossal head motif in relation to this trajectory and aspects of Guyana's colonial history, particularly slavery, emancipation and its postwar independence struggle, the essay describes how Williams transformed these iconic sculptures into avatars of postcolonial vision. [ABSTRACT FROM AUTHOR]

Copyright of Revue Quebecoise de Droit International is the property of Revue quebecoise de droit international and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How were relationships negotiated across ethnic, racial, and gendered boundaries in the American West in the 1920s and 1930s? Were friendships possible? What limits shaped them? In 1927, four Kiowa students enrolled at Oklahoma University as students of Swedish-born Professor of Fine Arts Oscar B. Jacobson. This article investigates the relationship between Jeanette Berry, wife of one of the Kiowa artists, and Sophie Brousse, Jacobson's French wife. It focuses on an incident when Berry presented Brousse with a gift of earrings. Placing this gift within a discussion of friendships between strangers illuminates the lines of culture, meaning, and power that separated these women. This relationship had individual ramifications but also formed part of their respective attempts to establish positions and maintain culture within Oklahoma where both American Indians and immigrants faced changing and volatile conditions. Their encounter highlights issues of class as well as ethnicity and culture. [ABSTRACT FROM AUTHOR]

El artículo discurre sobre las civilizaciones indígenas mesoamericanas, incluyendo información acerca de los temas religiosos presentes en su arte.

The article discusses Native peoples' making of popular culture, citing the centrality of Indigeneity to modernity. It states that the principles of Indigenous research methodologies are often summarized as respect, responsibility, relevance, and relationality, and mentions interactions with Indigenous theater artists with links to vaudeville, in familial legacy and performance techniques. It notes significance of Indigenous women performers.

The article examines representations of colonialism in contemporary Indigenous art. Various artists are discussed include Kent Monkman, Rebecca Belmore and Nadia Myre. Details relating to victimism, trauma and individual life story and how they can be depicted in art through symbolism and other means are also offered.

The article examines contemporary Indigenous art, focusing upon artists that utilize beading, stitching and other traditional arts. Particular focus is given to the reclamation of these materials beyond the traditional art/craft debate. Additional topics discussed include the meditative quality of artmaking, and a closer look at the work of contemporary Indigenous artists including Jamie Okuma, Ursula Johnson and Ruth Cuthand.

The article explores sovereignty as it relates to the experiences of Native people in the U.S. and Canada. Particular focus is given to how the topic is relevant to the cultural and artistic practices of Indigenous persons, especially those working with the written word. Additional topics discussed include the work of the artist Edgar Heap of Birds, the artist Cheryl L’Hirondelle and an exploration of writing in Native art.

The concept of the 'future imaginary' seeks to capture the ways people imagine the futures of their societies. This article considers how Indigenous artists from North America and Oceania have used digital media to illustrate such possible futures from an Indigenous perspective. The review of their work forms the basis for a preliminary analytical framework for understanding different types of imaginings and the cultural and political work they do in expanding the possibilities of future action by Indigenous communities. [ABSTRACT FROM AUTHOR]

El artículo presenta un informe sobre el uso y circulación de los indígenas se archiva en la Araucanía, La Pampa y la Patagonia de Argentina.

The market for modern Indian art is an emerging art market, having come into a proper existence only in the late 1990s. This market saw tremendous growth in its initial years, then a downturn that started around 2007-2008. Using data from auctions conducted by a major Indian art auctioneer, we estimate via hedonic regression a price index for paintings and drawings by Indian artists sold during 2000-2013. We are able to thus estimate a rate of return on Indian art as an investment and also shed light on what drives the price of a painting in the Indian market. [ABSTRACT FROM AUTHOR]

The article offers information on the art group Postcommodity which is founded by artists including Raven Chacon, Kade L. Twist, and Cristóbal Martinez and mentions focus of the group on indigenous cultures and lands of the U.S.

American Indian rock art is distributed across a portion of the east-flowing Arkansas River Valley in a distinctive spatial pattern in which motifs and compositions referencing spirit world subject matter predominate along the north side of the river, in contrast to imagery depicting the observable world on the south. This pattern accords with cosmological components of the belief systems of Dhegiha Siouan-speaking tribes, as expressed in the spatial elements of other cultural phenomena, including village layouts and ritual choreographies, among such groups as the Osage and Quapaw, who occupied the region during later historic times. One sandstone prominence also located south of the river attracted the attention of Precolumbian artists, who decorated its exposed surfaces with an intriguing depiction of a mask, partly obscured by lichen, exhibiting the telltale eyes and other characteristics of the Mesoamerican rain god Tlaloc. Examination of this image, along with a second possible Mesoamerican- or Southwestern-inspired image located north of the river, serves to enlarge our understanding of the wider distributional pattern, especially on the topic of how local communities incorporated exotic ideas into the fabric of their cosmological landscapes. [ABSTRACT FROM PUBLISHER]

The article discusses Indigenous North American art, with a particular focus on the paintings of artist George Morrison and the theories of scholar Gerald Vizenor. According to the author, artworks by indigenous peoples should be recognized as complex, individual acts of self-determination rather than being classed as "Indian Art" and assumed to have certain stereotypical characteristics. Morrison's abstract style, his choice to live in Minnesota, and the Red Power movement are discussed.

This essay explores the ontological perspective embedded in current scholarship, particularly the ways it interprets and categorizes unfamiliar things of indigenous American origin. I review the notion of representation, a term ubiquitous in art historical writing (and in other disciplines as well) and one that is generally considered descriptive rather than evaluative, but which tacitly converts indigenous things into not just art, but more fundamentally into signifiers. Because this conversion alters the very things it is deployed to understand and explain, insisting on a substitutive relationship between materials and ideas, rather than recognizing a necessary indivisibility, it actually participates in an on-going conquest—a conquest of perception. [ABSTRACT FROM AUTHOR]

The article discusses artist Oscar Howe's 1960 appearance on the television show "This is Your Life". Particular focus is given to Howe's Native American identity and to the show's discussion of his heritage and his artwork. According to the author, Howe's appearance on the show demonstrated his ability to serve as a spokesperson for American Indian culture and its potential contributions to American society. Details on Howe's painting "Wounded Knee Massacre" are presented.

The article discusses the application of post-identity terminology to art and art history. Particular focus is paid to three major exhibitions that the authors suggest are responsible for the widespread use of post-identity labels in art. Exhibitions discussed include: "Freestyle," a show held at the Studio Museum in New York City in 2001 where the terms "post-black" and "post-black art" were first coined by curator Thelma Golden and artist Glenn Ligon; the show "Remix: New Modernities in a Post-Indian World" held at the National Museum of the American Indian in 2007; and "Phantom Sightings: Art after the Chicano Movement" a 2008 exhibition at the Los Angeles County Museum of Art in California that explored the concept of post-Chicano art.

A much discussed concept, authenticity is still very important to collectors and museums in 2013 with respect to Native American art, but few have examined the dynamic between artist and buyer in relation to how concepts of authenticity affect the exchange. Useful here is a constructivist approach that examines authenticity with respect to local perceptions, values and setting. Existential authenticity is revealed through statements by the potters of Santa Clara and San Ildefonso Pueblos, New Mexico, and object authenticity is derived from attributes of the pot and potter partly from online advertisements for 571 pots. The proxies for existential values predict 39 per cent of the cash value of the pot. Ongoing discussions among all the stakeholders preceding juried competitions conserve potters’ values and support artist agency. These values, as expressed in the pottery, are likely part of buyers’ attraction to the pottery. [ABSTRACT FROM AUTHOR]

An introduction is presented which discuss the articles within the issue on the theme of Native American surrealism with topics, including the Peruvian poet and artist César Moro, the influence of Native American and South American surrealism on European surrealism and Cherokee artist Jimmie Durham.

The article examines the work of artist Douglas Miles and his company Apache Skateboards. Particular focus is given to the roles of rebellion and cross-cultural influences in reservation culture and Indian art. Details on the reception of Miles' work by museum culture are presented. Other topics include skateparks, activism among youth skateboarders, and identity.

An interview with the author and art historian Partha Mitter is presented. Particular focus is given to his interest in both Indian art and Western modernist art. Details relating to how he was influenced by late colonialism and the decolonization of India by Great Britain are discussed. Additional topics examined include the idea of history as a European invention, how the widening breadth of the capitalist economic system is impacting the art world, and his book "Much Maligned Monsters."

Copyright of Revista Espanola de Antropologia Americana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the relationship between people and objects in the powwow arts and crafts market. Over the past century, the field of Indian art developed a system of valuation that employs the “negative relationship” to create a hierarchy of people, objects, and markets. Central to this system are regimes of value associated with art and commodity. I argue that the presence of the mass-produced makes it possible for artisan-vendors to employ the negative relationship to define, value, and make sustainable the artistic in the powwow market context. Ultimately, this marks artisan-vendors and mass-produced vendors as position-takers within the Indian art field. [ABSTRACT FROM PUBLISHER]

An introduction to volume XV, 2013 issue of "Cracow Indological Studies" is presented.

The article examines the impact that American Indian ritual had on the collecting and artistic activities of Surrealist artists and writers. Particular focus is given to the work of the contemporary Navajo/Laguna Pueblo artist Steven Yazzie and the modern performance artist Joseph Beuys. Additional topics discussed include the impact that Native American objects had on the Surrealist movement, the art collecting practices of the author André Breton and the artists Max Ernst and Dorothea Tanning.