Images and texts document the legendary Department of Media Study at SUNY Buffalo when it set the world standard; a history of the program and examples of work by “Buffalo heads” James Blue, Tony Conrad, Hollis Frampton, Gerald O'Grady, Paul Sharits, Steina, Woody Vasulka, and Peter Weibel. Twentieth-century art history is not just a history of individuals, but of collectives, groups. Universities and colleges have had much to do with this through their support of artistic communities and creative interactions. In the 1920s and 1930s, the Bauhaus was known for this. In the 1940s, Black Mountain College became a leader in community-based visual art practice and education. And in the 1970s and 1980s, the Department of Media Study at the State University of New York at Buffalo was the place to be. It was there, in 1973, well before any other university had a program explicitly devoted to media art, that Gerald O'Grady founded a media study program that is now legendary. Artists—including avant-garde filmmakers Hollis Frampton, Tony Conrad, and Paul Sharits, documentary maker James Blue, video artists Woody Vasulka and Steina, and Viennese action artist Peter Weibel—investigated, taught, and made media art in all forms, and founded the first Digital Arts Laboratory. These Buffalo faculty members were not just practicing artists, but also theorists who wrote and spoke on issues raised by their work. They set the terms for the development of media art and paved the way for the triumph of video installation art in the 1990s. The images and texts in Buffalo Heads bear witness to the groundbreaking events at the Buffalo Center for Media Study. The book presents not just a tribute to a famous media department finally receiving its due; it is a rich inventory of primary texts (many never before published), works that will improve our understanding of media, amplify our cultural memory, and offer a perspective on contemporary issues.

The wildest, loveliest and least-travelled region of Alberta was R.M. Patterson’s home territory in the 1930s and ’40s. The Buffalo Head ranch was located in the foothills of the majestic Canadian Rockies. With the mountains as a backdrop, this dude ranch hosted visitors from around the world. Patterson bought it from its founder, a wild Italian named George Pocaterra, and explored the steep valleys and high mountain passes. Patterson’s tales of the ranch in The Buffalo Head culminate with a fantastic story of meeting a growling grizzly while crossing the Continental Divide in an October snowstorm.

"I want to talk about some of the things I'm after when I write, my sense of the American predicament, and what I hope for poetry and for people in relation to words...I believe poetry can be proof that dynamic awareness is alive and kicking, a constant reminder to ourselves and to our fellow citizens that being alert, both inwardly and outwardly, rewards each person with more life. Doesn't a good poem bring that electric sense of things, that edgy vitality that can't be laughed off or shopped away? I think being fully human demands this, demands poetry." -- Open Letter by the author.

"At the place known as Head-Smashed-In in southwestern Alberta, Aboriginal people practiced a form of group hunting for nearly 6,000 years before European contact. The large communal bison traps of the Plains were the single greatest food-getting method ever developed in human history. Hunters, working with their knowledge of the land and of buffalo behaviour, drove their quarry over a cliff and into wooden corrals. The rest of the group butchered the kill in the camp below

This thoroughly researched and superbly written book combines history, myth, folklore, and fiction to tell the story not only of the buffalo but of the relationship between buffalo and man on the North American continent. Synthesizing larger and longer histories of this unique animal, this book traces the history of the buffalo from the time it led man to North America, fed him, clothed him, and housed him. As buffalo increased in numbers, they became central to the culture of the Great Plains Indians who lived surrounded by them. Much of the Indian way of life was related to knowledge of and reverence for the buffalo. When the European white man arrived, he lived off the buffalo as he explored the continent. Later, he slaughtered the great herds of animals when they trampled his crops, stopped his railway trains, and fed the Indians who fought him for the land. But when extinction threatened the buffalo, the white man was challenged by the idea of saving the animal, an idea that captures the imagination of Americans yet today. Heads, Hides & Horns traces this major history in a thousand small stories, with directions for tanning, recipes for cooking, stories of tenderfeet and hide hunters, Metis from Canada who searched for bones, ciboleros from Mexico who hunted buffalo in Texas, and hundreds of anecdotes and first-person accounts. Over one hundred illustrations accompany the lively text. The pictorial research behind this book is as thorough as the textual study, and the illustrations include works by major artists of the period - Karl Bodmer and Frederic Remington, for example - along with actual period photographs. Combining the best of art and history told in an anecdotal and readable manner, Heads, Hides & Horns offers fascinating reading for anyone interested in the American West, its culture, traditions, and ecology.

A hardcover bestseller now in paperback presents a management program that encourages employee leadership--which today's companies must have more of if they are to survive the coming decades.

Head-Smashed-In Buffalo Jump in Alberta is one of the oldest, largest, and best-preserved buffalo jump sites in North America and was declared a World Heritage Site in 1981. Author Gordon Reid has compiled a history of this significant site, describing the importance of the buffalo to Native peoples, how the jump was used, and the traditions and skills surrounding the hunt. He also looks at the excavation of the site, explaining how archaeologists uncovered artifacts, and what they learned about the history of the site and the people who used it. Also included is an overview of the resources offered by the Head Smashed-In Buffalo Jump interpretive centre. This book, originally published in 1993, has been a very popular resource for tourists, educators, students, and people interested in Alberta's heritage. Completely updated and redesigned for this new edition, it will be the only book available that explains, in depth, the vital role of Head-Smashed-In Buffalo Jump in Native history.