This book brings overdue recognition to the artistry and craftsmanship of the Plateau Indians by focusing on the remarkable collection amassed by the late Doris Swayze Bounds, an Oregon banker, who grew up among the Native people. Many of the items in her collection came to her as gifts from her Indian friends. 280 illustrations, 48 in color.

Archaeologist Keyser and Klassen share with readers the origins, diversity, and beauty of Plains rock art, with the hope of encouraging greater awareness and respect for this cultural tradition by society as a whole. Their guide covers the natural and archaeological history of the northwestern Plains; explains rock art forms, techniques, styles, terminology and dating; and suggests interpretations of images and compositions. The text is illustrated throughout with black-and-white photos, maps and drawings. The writing is serious, but accessible to the general reader. c. Book News Inc.

The Plateau culture area lies between the Rocky Mountains on the east and the Cascade Mountains on the west and includes parts of Washington, Oregon, California, Idaho, Montana, and British Columbia. Among the Native American peoples there, the women's economic role of food gathering was traditionally considered so important that their status was equal to that of men. A woman's most important role, that of teacher and tradition bearer, was attained as a result of life experience for which she was honored as an elder. While young women gathered and prepared food, bore children, and managed the family's resources, they also developed their individual artistic skills. As they grew older and became grandmothers, they were responsible for teaching their grandchildren traditional values and beliefs through stories and songs and helping them, in turn, to learn artistic techniques. Present-day Plateau women continue to be tradition bearers within the arts, sometimes also incorporating contemporary elements into their work.

In the past, many Native American cultures have treated women and men as equals. In A Necessary Balance, Lillian A. Ackerman examines the balance of power and responsibility between men and women within each of the eleven Plateau Indian tribes who live today on the Colville Indian Reservation in north-central Washington State. Ackerman analyzes tribal cultures over three historical periods lasting more than a century--the traditional past, the farming phase when Indians were forced onto the reservation, and the twentieth-century industrial present. Ackerman examines gender equality in terms of power, authority, and autonomy in four social spheres: economic, domestic, political, and religious. Although early explorers and anthropologists noted isolated instances of gender equality among Plateau Indians, A Necessary Balance is the first book-length examination of a culture that has practiced such equality from its early days of hunting and gathering to the present day. Ackerman's findings also relate to an examination of European and American cultures, calling into question the current assumption that gender equality ceases to be possible with the advent of industrialization.

This landmark publication reevaluates historical Native American art as a crucial but under-examined component of American art history. The Charles and Valerie Diker Collection, a transformative promised gift to The Metropolitan Museum of Art, includes masterworks from more than fifty cultures across North America. The works highlighted in this volume span centuries, from before contact with European settlers to the early twentieth century. In this beautifully illustrated volume, featuring all new photography, the innovative visions of known and unknown makers are presented in a wide variety of forms, from painting, sculpture, and drawing to regalia, ceramics, and baskets. The book provides key insights into the art, culture, and daily life of culturally distinct Indigenous peoples along with critical and popular perceptions over time, revealing that to engage Native art is to reconsider the very meaning of America. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

In the nineteenth and early twentieth centuries, the Indigenous peoples of the Great Plains practiced an archival art—narrating war exploits in large-scale paintings executed on animal hide robes, shirts, tipi covers, and tipi liners. Essentially autobiographical, the paintings were worn and lived in by the men whose war exploits they portrayed, and were made to be “read” by the public at large. Executed in a pictorial narrative style and documenting actual events, these paintings blend visual art and history. Indigenous War Painting of the Plains is the first comprehensive look at this important North American art form, covering the full corpus of war paintings from fourteen tribes across the plains. Two impediments have previously made such a book impractical: photography alone falls short of rendering war paintings for the printed page, and only about half of the surviving works have reliable documentation on their cultural origins. Arni Brownstone surmounts these difficulties by producing precise electronic redrawings and by using well-documented paintings to inform poorly documented examples, bolstered by a careful examination of collection histories. Featuring some 300 photographs and electronic redrawings, the book focuses on 83 paintings organized into four chapters covering the paintings of tribes associated with a specific geographical sphere of artistic influence. Four appendixes feature paintings combined with “translations” by Indigenous collaborators who had intimate knowledge of the depicted events. Offering vivid access to the key works of war painting preserved in 37 museums throughout North America and Europe, Indigenous War Painting of the Plains illuminates distinctions between painting styles of different tribes, reveals how they influenced one another and changed over time, and conveys a deep understanding of how war painting developed in relation to profound social changes in Plains Indian cultures.