Brody also explores the role played by the individuals who supported and promoted the Pueblo artists' work, including writers Mary Austin and Alice Corbin Henderson, archaeologist Edgar Lee Hewett, artist and scholar Kenneth M. Chapman, painter John Sloan, and art patrons Mabel Dodge Luhan and Amelia Elizabeth White.

Attracted to the rich ceremonial life and unique architecture of the New Mexico pueblos, many early-twentieth-century artists depicted Pueblo peoples, places, and culture in paintings. These artists’ encounters with Pueblo Indians fostered their awareness of Native political struggles and led them to join with Pueblo communities to champion Indian rights. In this book, art historian Sascha T. Scott examines the ways in which non-Pueblo and Pueblo artists advocated for American Indian cultures by confronting some of the cultural, legal, and political issues of the day. Scott closely examines the work of five diverse artists, exploring how their art was shaped by and helped to shape Indian politics. She places the art within the context of the interwar period, 1915–30, a time when federal Indian policy shifted away from forced assimilation and toward preservation of Native cultures. Through careful analysis of paintings by Ernest L. Blumenschein, John Sloan, Marsden Hartley, and Awa Tsireh (Alfonso Roybal), Scott shows how their depictions of thriving Pueblo life and rituals promoted cultural preservation and challenged the pervasive romanticizing theme of the “vanishing Indian.” Georgia O’Keeffe’s images of Pueblo dances, which connect abstraction with lived experience, testify to the legacy of these political and aesthetic transformations. Scott makes use of anthropology, history, and indigenous studies in her art historical narrative. She is one of the first scholars to address varied responses to issues of cultural preservation by aesthetically and culturally diverse artists, including Pueblo painters. Beautifully designed, this book features nearly sixty artworks reproduced in full color.

Major Reference Book Series for American Indian Art! ca. 1800-Present, with Value/Price Guide Featuring over 20 Years of Auction Records, 1,000 illustrations, family tree charts, illustrated hallmarks, Very Positive Reviews: The volume will for decades remain a primary resource. Dr. Bruce Bernstein, Assistant Director of Cultural Resources, Smithsonian Institution, National Museum of the American Indian This is the first time that a comprehensive survey and databases for Indian artists have been done. It has been a long time in coming, and its impact will be significant for Indian artists and collectors of Indian art for decades to come. Dr. Greg Cajete, University of New Mexico; What a wonderful addition it is to my reference collection . . . There are so many potters whose names I have not seen before. What a great opportunity to meet new potters and appreciate their talents. The Bibles of Native Arts, Dan Gibson, Editor, Native Peoples Magazine.

This lavishly illustrated art history situates the work of pioneering mid-twentieth-century Native American artists within the broader canon of American modernism.

The comprehensive book on Indian petroglyphs in the Southwest.

Created in the early 20th century by renowned artists -- including the "Kiowa Five" -- these 81 full-page images of sacred and secular traditions are reproduced from rare hand-colored originals.

For the Southwestern Indians, painting was a natural part of all the arts and ceremonies through which they expressed their perception of the universe and their sense of identification with nature. It was wholly lacking in individualism, included no portraits, singled out no artists. But the roving life of the Plains Indians produced a more personal art. Their painted hides were records of an individual's exploits intended, not to supplicate or appease unearthly powers, but to gain prestige within the tribe and proclaim invincibility to an enemy. Plains painting served man-to-man relationships, Southwestern painting those of man to nature, man to God. Such characteristics, and the ways they persist in contemporary Indian painting, are documented by the 157 examples Miss Dunn has chosen to illustrate her story. Thirty-three of these pictures, in full color, are here published for the first time.