A New York Times Best Art Book of 2018 This generously illustrated book explores the pottery of the Mimbres people and offers new insight into its imagery. Named after a valley in what is now Southwestern New Mexico, the Mimbres culture flourished between the 9th and 12th centuries. Through the exploration of paintings on Mimbres bowls, this book offers revelations about the culture's worldview based on the patterns and shapes depicted in their pottery. Drawing on extensive research as well as photography of the flora and fauna that still thrive in the Mimbres valley, the authors make the case that the pottery's beautiful black-and-white paintings and highly intricate designs are abstractions of visual experiences--some seen in the natural world and others generated by trance-like states brought on by ingesting the datura plant. Presenting a distinctive new interpretation of the iconography of ancient Mimbres painted ceramics, this volume addresses Mimbres culture and how this past civilization lived and communicated with the spirit world. Published in association with the Los Angeles County Museum of Art

In Correlative Archaeology, Fumi Arakawa applies correlative thinking practices, which are derived from an East Asian view of the world that stresses connectivity, to archaeological interpretations. Arakawa, a Japanese scholar who was trained in Western archaeology, argues that a correlative paradigm can help archaeologists, as well as scholars and researchers from other disciplines, consider competing paradigms and integrate Native American voices and narratives into interpretations of prehistoric art and landscapes.

This book showcases the theories, methods, and accomplishments of archaeologists who investigate the human mind through material forms. It encompasses the wide spectrum of cognitive archeology, showcasing contributions from scholars globally. It delivers analysis of material culture, from stone tools to ceramic and rock art of the past millennium.

Baseline Shift captures the untold stories of women across time who used graphic design to earn a living while changing the world. Baseline Shift centers diverse women across backgrounds whose work has shaped, shifted, and formed graphic design as we know it today. From an interdisciplinary book designer and calligrapher during Harlem's Renaissance, to the invisible drafters of Monotype's drawing office, the women represented here include auteurs, advocates for social justice, and creators ahead of their time. The fifteen essays in this illustrated collection come from contributors with a variety of backgrounds and perspectives. Baseline Shift is essential reading for students and practitioners of graphic design, as well as anyone with an interest in women's history.

"Organic residue analysis is a technical specialty that blends an unusual type of instrumental organic chemistry and archaeology. Because it is considered abstruse, archaeologists of all degrees of experience tend to struggle with how to apply the technology to archaeological questions and how to sample effectively in the field to answer these questions. "Organic Residues in Pottery" uses a case-study approach to explain the methods and application of organic residue analysis to archaeologists in a reader-friendly tone. The case studies come from Reber's more than twenty years of research. Pottery analysis is considered an important component of excavating a site. Organic pottery residues are made up of chemicals that absorb into pots over their use-lifetime. Analysis of the residues can allow fascinating interpretations of human behavior that are only recognizable from this analysis. The analysis allows archaeologists to interpret the ways that people have used pottery. For instance, pottery analysis can help reveal what people ate, whether different types of vessels were used for different cooking or foodstuffs preparation, and whether "elite" vessels were in use. Every residue comprises many different chemicals. Analysis includes a series of steps. Reber starts with basic information, such as how a residue forms in different environments. Other chapters discuss excavation of the residue (including extraction, instrumentation, and analysis), interpreting results, different contaminators, common substances found (e.g., caffeine and nicotine, maize, tree resins, and fish and shellfish), how to sample, how to talk with a lab analyst, and future benefits of residue analysis"--

This volume examines how pre-Columbian societies in the Americas envisioned their cosmos and iteratively modeled it through the creation of particular objects and places. It emphasizes that American societies did this to materialize overarching models and templates for the shape and scope of the cosmos, the working definition of cosmoscape. Noting a tendency to gloss over the ways in which ancestral Americans envisioned the cosmos as intertwined and animated, the authors examine how cosmoscapes are manifested archaeologically, in the forms of objects and physically altered landscapes. This book’s chapters, therefore, offer case studies of cosmoscapes that present themselves as forms of architecture, portable artifacts, and transformed aspects of the natural world. In doing so, it emphasizes that the creation of cosmoscapes offered a means of reconciling peoples experiences of the world with their understandings of them.

This reissue of three early essays on Mimbres archaeology and design fills a major gap in the literature on the Mimbres, whose pottery has long fascinated students of the prehistoric Southwest. Fewkes, one of the eminent archaeologists of the early twentieth century, introduced Mimbres art to scholars when he published these essays with the Smithsonian Institution between 1914 and 1924, under the titlesArchaeology of the Lower Mimbres Valley, New Mexico, Designs on Prehistoric Pottery from the Mimbres Valley, New Mexico,andAdditional Designs on Prehistoric Mimbres Pottery.Long out-of-print, these essays represent the first analysis and description of the complex abstract and representational designs that continue to fascinate us 2,000 years after they were painted.