This splendid reference is the result of the author's ten years spent researching in archives, photographing artifacts, and conducting interviews with elders and artists, excerpts of which are interspersed throughout the information-packed text. Jewelry, beadwork, and ceremonial regalia are presented in 1,200-plus illustrations (about 820 in color), including three eight-page gatefolds; diagrams of jewelry techniques and regional maps are also included. Though it makes no claim to be comprehensive, the scope is expansive, extending from the Arctic Circle to northern Mexico and from the Atlantic to the Pacific, and including a full spectrum of ornamental artwork. The author's previous work The History of Beads is well regarded; and this authoritative and beautiful reference will no doubt stand equal to it. Annotation copyrighted by Book News, Inc., Portland, OR

« Totems to Turquoise: Native North American Jewelry Arts of the Northwest and Southwest celebrates the timeless beauty and power of the jewelry of the American Southwest and Northwest Coast, two regions with distinguished traditions of visual creation whose contemporary artists continue to work in the best of those traditions while expanding upon them to make jewelry an art form expressive of individual vision and creativity." "Lavishly illustrated, both with historical photographs and a wealth of new photography commissioned for this publication, Totems to Turquoise: Native North American Jewelry Arts of the Northwest and Southwest will be an important resource for students, scholars, designers, and indeed for anyone who loves beautiful and well-made objects. 185 illustrations, including 150 plates in full color. »--Résumé de l'éditeur.

A dazzling exploration of both traditional and contemporary jewelry. Spectacular photographs of the beautiful jewelry and sensitive portraits of the artists combine with an insightful, informative text to capture the spirit of this work and of the cultures from which it springs. Includes a collector's guide and a directory of sources. 210 illustrations, 155 in full color.

The jewelry of Jesse Monongya is fully described and each piece tells a story that combinnes authentic concepts from his culture with cutting edge materials and techniques. 142 colour & 30 b/w illustrations

This introduction to the art of tribal peoples of North America, Africa, and the South Pacific does not briefly cover the hundreds of artistic traditions in these three vast areas but rather studies in depth thirty-six art styles within all three areas using the methods of art history, including stylistic analysis and iconographic interpretation. Emphasis is on the art in cultural context and as a system of visual communication within each tribal area. Where appropriate for a more complete understanding of the art, data from archaeology, ethnology, linguistics, religion, and other humanistic disciplines are included.Among the peoples and cultures whose art is studied are the Haida, Kwakiutl, and Tlingit; the Hohokam and Mongollon, the Anasazi and Hopi; the Dogon and Bamana of Mali; the Asante of Ghana; the Benin, Yoruba, and Ibo of Nigeria; the Fan, the Bamum, and the Kuba of Central Africa; Australian aboriginal and Island New Guinea art; Island Melanesia art; central and eastern Polynesia; Hawaii and the Maori in Marginal Polynesia.The format of the text and selected illustrations is based on seventeen years of teaching African, North American Indian, and South Pacific art to undergraduate and graduate students at Herbert H. Lehman College (CUNY), New York University, and Columbia University. The book is intended for art history and anthropology students and the interested lay reader or collector. The detailed notes at the end of the book are for further study, research, and understanding of the tribal art style under discussion.

Published in association with the Heard Museum. The bolo tie, also called a string tie, is a western necktie consisting of a piece of cord or braided leather with an ornamental clasp. While the exact origin of the bolo tie has been debated, its impact on western style and culture is without question. The bolo is the official neckwear of several states, including Texas, New Mexico, and Arizona. Native American artisans in the Southwest began producing bolo ties in the mid-twentieth century, at the height of America's fascination with cowboy and western culture, and in response to tourist demand for finely crafted Native American jewellery. This publication is the first to showcase a wide variety of Native American made bolo ties produced in the Southwest over the past sixty years. Drawing from collector Norman L Sandfield's collection as well as pieces from the Heard Museum's permanent collections, Native American Bolo Ties presents over zoo examples of bolo ties, vintage and contemporary, primarily created by Zuni, Hopi and Navajo artists and silversmiths, among others, and incorporating a variety of styles, materials, and designs which exemplify the fine lapidary and silverwork that distinguish Native December jewellery. This book is published to coincide with an exhibition at the Heard Museum, Phoenix, Arizona, in December 2011.

The richness of Native American art is explored from the early pre-Columbian period to the present day, stressing the conceptual and iconographic continuities over five centuries and across an immensely diverse range of regions. 53 color photos. 104 halftones. 8 maps.