NORTH AMERICAN BURL TREEN:COLONIAL & NATIVE AMERICANThe practice of utilizing wood for domestic purposes is as old as civilization itself; however, for Europeans the use of burl was not common practice until they became colonists of North America in the 17th century. They learned from the Native Americans, for whom it was a centuries old tradition that treen made from burl (a knotty outgrowth on a tree), with its interlocking grain and strong matter was more durable than plain treen. Unlike in Europe, burls in North America were abundant, cheap, and a practical resource for everyday wares.Today, early burl treen is part of nearly every major Americana and Native Americana collection, yet the subject has largely been neglected in print, leaving most collectors and dealers with only a general understanding of the material. NORTH AMERICAN BURL TREEN: Colonial & Native American is the first comprehensive survey and study of this important historical craft. Culled from museum and private collections, the book includes nearly 200 objects and over 250 full-color images, most never before published.Chapters include:American Colonial Burl Bowls and Service WearThe Patten Family Maple Burl Sugar BowlThe Covered Burl BowlThe Burl MortarAssorted Burl TreenBurl Effigy Bowls of The Woodlands IndiansNative American Burl BowlsNative American Burl Effigy Ladles, Burl Paddles and ScoopsAtlantic White Cedar Burl of The Abenaki

In contrast to past studies that focus narrowly on war and massacre, treat Native peoples as victims, and consign violence safely to the past, this interdisciplinary collection of essays opens up important new perspectives. While recognizing the long history of genocidal violence against Indigenous peoples, the contributors emphasize the agency of individuals and communities in genocide’s aftermath and provide historical and contemporary examples of activism, resistance, identity formation, historical memory, resilience, and healing. The collection also expands the scope of violence by examining the eyewitness testimony of women and children who survived violence, the role of Indigenous self-determination and governance in inciting violence against women, and settler colonialism’s promotion of cultural erasure and environmental destruction. By including contributions on Indigenous peoples in the United States, Canada, the Pacific, Greenland, Sápmi, and Latin America, the volume breaks down nation-state and European imperial boundaries to show the value of global Indigenous frameworks. Connecting the past to the present, this book confronts violence as an ongoing problem and identifies projects that mitigate and push back against it.

A city of modest size, Providence, Rhode Island, had the third-largest Native American population in the United States by the first decade of the nineteenth century. Native Providence tells their stories at this historical moment and in the decades before and after, a time when European Americans claimed that Northeast Natives had mostly vanished. Denied their rightful place in modernity, men, women, and children from Narragansett, Nipmuc, Pequot, Wampanoag, and other ancestral communities traveled diverse and complicated routes to make their homes in this city. They found each other, carved out livelihoods, and created neighborhoods that became their urban homelands—new places of meaningful attachments. Accounts of individual lives and family histories emerge from historical and anthropological research in archives, government offices, historical societies, libraries, and museums and from community memories, geography, and landscape. Patricia E. Rubertone chronicles the survivance of the Native people who stayed, left and returned, who faced involuntary displacement by urban renewal, who lived in Provi­dence briefly, or who made their presence known both there and in the wider indigenous and settler-colonial worlds. These individuals reenvision the city’s past through everyday experiences and illuminate documentary and spatial tactics of inequality that erased Native people from most nineteenth- and early twentieth-century history.

Inspired by the 150th anniversary of Canadian confederation, Quebec author and antiques professional Peter E. Baker brings life to Canadian history and demonstrates how antiques and folk art can successfully be incorporated into a contemporary lifestyle, providing a home with a unique identity.

A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses Art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft. Global Objects points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history.

The Grove Encyclopedia of Decorative Arts covers thousands of years of decorative arts production throughout western and non-western culture. With over 1,000 entries, as well as hundreds drawn from the 34-volume Dictionary of Art, this topical collection is a valuable resource for those interested in the history, practice, and mechanics of the decorative arts. Accompanied by almost 100 color and more than 500 black and white illustrations, the 1,290 pages of this title include hundreds of entries on artists and craftsmen, the qualities and historic uses of materials, as well as concise definitions on art forms and style. Explore the works of Alvar Aalto, Charles and Ray Eames, and the Wiener Wekstatte, or delve into the history of Navajo blankets and wing chairs in thousands of entries on artists, craftsmen, designers, workshops, and decorative art forms.