· web viewcanvas contains a copy of the syllabus, video links, and lecture slides from each...

University of Wisconsin-Milwaukee at WaukeshaArt/AIS 260: American Indian Art

Instructor: Timothy J. Booth, Senior Lecturer Art/AISOffice: S121

Office Hours: T/Th 10:30-11:30 & by appointmentPhone: 262-521-5446

[email protected]

Course DescriptionThis course will serve as a general survey of the arts and culture of North America Indians from the pre- Columbian period to the present. This timeline will be examined within an historical context, considering the religious, philosophical, aesthetic, and cultural contexts of Native Americans before and after “contact”. For the sake of clarity, our study will be structured according geographic and/or culture areas.

Course ObjectivesBy the end of the semester you should be able to identify, classify, and explain via various assessment tools, major artistic styles and iconography of the different Native American groups. As well, you should be able to apply historical art and anthropological terminology as they relate to specific cultural regions of Native North American art. You should have an understanding of the issues facing Native Americans from the pre-Columbian era and post-contact era. This includes the impact trade had on indigenous groups and how European contact affected artistic production and styles.

Although some of the questions we will ask will be concerned with style or why art looks like it does, other inquiries will focus on what the art means, both in a narrow, specific or iconographical sense and in a wider iconological sense or cultural world view. We will also explore how trade among indigenous groups impacted art and eventually how European “contact” affected it.

1) Classify Native North American art based on cultural artistic styles.

2) Apply appropriate historical art and anthropology terminology as they relate to specific cultural regions of Native North American art.

3) Identify intracultural influences on style and iconography of various Native North American artistic traditions and philosophies.

4) Explain historical factors that influenced the form and function of Native American art.

5) Detail factors affecting contemporary Native American art.

mailto:[email protected]

Criteria for EvaluationThis course will be divided into 4 units with one exam for each unit. In addition, students will be required to complete weekly focus questions and in-class discussions based upon assigned readings and videos. Each in-class exam will include multiple choice, true/false and matching questions based on image identification/analysis, and essays focused on single image and image comparisons. All exams will be generated from assigned readings, classroom lectures, focus questions, discussions, and videos. Students are required to take careful notes on all these required activities. A field project/exhibition will make up the other activity of the course. Details of the assignment will be provided later. Extra credit opportunities may be available for students wishing to improve their knowledge of Native American art and culture.

Exam Multiple ChoiceMultiple choice questions will make up one-half of each exam. They total 50% of the total grade for each exam. Questions 1-10, will be accompanied by a single work of art which you will be required to identify and answer a question related to an element of style and/or iconography. Questions 11-20 are straight multiple choice, again, related to elements of style and/or iconography and historical context.

Exam EssaysThe essays represent the other 50% of the exam grade. Single image essays are worth 10% and the image comparison essay is worth 40%. A letter grade is assigned for each portion of the exam and averaged as one total grade for each exam. Essay responses for Exams (single image essays & image comparison essays) will be evaluated on following criteria: The best essays will demonstrate exceptional comprehension of the materials including historical & thematic elements, and the stylistic & iconographic terminology for that exam. The presentation of the essay is polished in its clarity, organization and is grammatically correct. Refer to grading criteria below.

Focus/Discussion WorksheetsWeekly focus/discussion question worksheets will be a required activity for all students. These short written assignments are based on required readings/discussion and are designed to focus your attention to both general and specific issues of the reading assignments in preparation for each lecture. You will complete each assignment prior to class and make 2 hard-copies (one handed in to me) for each class meeting.

Grade distribution:4 exams @ 20% each

1 field project 15 %

Class Participation 5%

Grading Criteria:A=Excellent work. Uses critical thinking tools to arrive at a relatively deep understanding of the course content, i.e. does more than memorize facts such as artist’s name, title & date of the artwork (although these are also important). An A effort is one which goes beyond my expectations and shows evidence of personal commitment, enthusiasm, and passion.

B= Very Good. Memorizes facts and has a fairly solid intellectual grasp of the course content but is not actually always critically engaged. However, generally knows WHAT happened but not necessarily WHY it happened, i.e. is not actually always critically engaged. Accurately completing the assignment and doing everything I want earns a B.

C= Good, honest effort has been made but needs improvement. Knows some facts and memorizes some of WHAT is important but understands few of the WHYs, i.e. is seldom critically engaged.

D= Not so good. Very little effort, knowledge demonstrated.

F= Bad. No effort demonstrated. Misses class and assignments.

CANVAS COURSE TOOLS, COMMUNICATION & TECH SUPPORTCanvas is an essential component of this course. Students are responsible for learning to navigate/utilize the various learning tools that have been provided on Canvas . Canvas contains a copy of the syllabus, video links, and lecture slides from each lecture so that you can revisit the core content/context of each lecture. Canvas also contains primary images files as Word documents that provide an abbreviated record of the objects we see in lecture. I will use the Canvas site to send “Announcements” to the entire class on a daily basis as needed. Student are responsible for checking “Announcements” and email messages daily to remain informed about changes or updates regarding lectures, exams and due dates. Technology Support: UWM at Waukesha – Contact Mary Jo Crisci in the library or call 262-521-5473. Additional help is available from UWM Get Tech Help.

NOTE-TAKING AND PARTICIPATIONYou will be responsible for taking notes on each class lecture/discussion. The primary purpose of your notebooks is to take careful notes on class lectures/discussions and your daily reading assignments. Additionally, your notebooks will provide an excellent study guide for your examinations. The consistency and quality of your notebooks will reflect greatly in the level at which you perform in this class. My lessons are a combination of lecture and discussion, and the success of each class period relies heavily on your active participation. Therefore, it is imperative that you come to each class period having completed your assigned readings and prepared to look, listen and speak.

STUDENT SERVICESUW-Waukesha at Milwaukee Solutions Center offers a variety of services for students who wish to enhance their education. If you feel that you need help with note taking, exam preparation, writing essays, and general organization, come and talk to me so that we can determine an appropriate course of action to assist you. The Solution Center is open Monday thru Friday 8:00-4:30. They can be reached at: 262-521-5040. The following link provides access to campus wide services. https://uwm.edu/secu/wp-content/uploads/sites/122/2016/12/Syllabus-Links.pdfATTENDANCE, TARDINESS & CLASSROOM ETIQUETTEAttendance is mandatory. Regular attendance is necessary for the successful completion of the course. Excused absences require a phone call or email prior to class and a written excuse from a physician/health care provider or documentation of another unforeseen event. Students must be in their seats when class begins to be considered present. Students, who are late, leave early or are observed texting or sleeping will be marked absent. You are expected to be attentive and focused during our class period. Two or more unexcused absences or tardiness will result in the reduction of your final grade by one whole letter. Since some of the material covered in class cannot be found in your reading as it involves a synthesis and analysis from a variety of information sources it is imperative that you be in class for each meeting. Disruptions of any kind will not be tolerated. Cell/Smart phones, i-Pods, and any other kind of electronic devices must be turned off before entering the classroom and OUT of SITE. Any disruption during classroom time will considered a matter of academic misconduct. Any assigned work submitted late will be downgraded by one whole letter grade with no exceptions. Students should expect to spend 3 hours per week outside the classroom in preparation for lectures and exams Class meets on Wednesday from 1:00-3:45 in Southview 115.

Make-up exams: If you are going to miss an exam, you are required to inform the instructor at least 24 hours in advance of the scheduled exam. If you fail to provide prior notice of an absence during an exam, then make-ups are at the instructor’s discretion. Exams/quizzes/assignments completed late will have a minimum of one letter grade deducted. I will make exceptions to this rule, if you talk to me in advance or have appropriate documentation. It is best to inform me of your absence in writing through email.

ACADEMIC MISCONDUCTAll suspected incidents of academic misconduct shall be handled using UW System rules, Chapter 14. “Academic misconduct” includes, but is not limited to the following examples: “cheating on an examination, collaborating with others in work to be presented, contrary to the stated rules of the course; submitting a paper or assignment as one’s own work, when a part or all of the paper assignment is the work of another; tampering with the laboratory experiment or computer program of another student. (UWS 14.03) UWS 14 is available to all students in the library.

Art/AIS 260: Course Schedule

Unit 1

[Week One] 9-4: Course Introduction & Syllabus

Required Reading:

No assigned reading

Activity:

Video: American before Columbus

Discussion Focus:

Video discussion-refer to week 1 handout

Primary Images Focus:

Beringia Columbus & Isabella Columbus 1492 Columbus with “possessions”

Vocabulary Focus:

Beringia

Age of exploration

Doctrine of Discovery

Isabella & Columbus

Columbian Exchange

Bul intra caetera, 1493

Hunter & gatherer

Agriculture

Import/export

Hernando Desoto

[Week Two] 9-11: Introduction to Indigenous Arts of North America

Required Reading:

Berlo & Phillips, Chapter 1, pp. 1-35

Society of American Archaeology, “What is Archaeology” (Canvas # 1)

Activity:

Week 2 focus questions & in-class discussion (Canvas)

Video: Primitive Mind


Jesse Fewkes World’s Columbian Expo Fashion Industry Horace Poolaw Kwakiutl Eagle Mask

Vocabulary Focus:

Beringia

pre-contact/contact

indigenous

archaeology

Eurocentric

Ethnology

World’s Columbian Exposition

Buffalo Bill’s Wild West Show

marketing “Indians”

sacred & ceremonial

Totem

Cosmology

Shamanism

Saiciye

[Week Three] 9-18: Eastern Native American: Archaic & Woodland Periods

Required Readings:

Berlo & Phillips, Chapter 3, pp. 71-79

Thomas, “Poverty Point,” pp. 94-105 (Canvas # 2)

Thomas, “Serpent Mound,” pp. 106-113 (Canvas # 3)

Activity:

Create an in-class timeline: Paleo-Indian to Mississippian

Week 3 focus questions (Canvas)

Video: Poverty Point Earth Works Mounds


Poverty Point Human Effigy Pipe Mica Hand Serpent Mound

Vocabulary Focus:

Pre-Columbian

Clovis

Paleo-Indian: 12,000-8,000 b.c.

Archaic period: 8,000-1,000 b.c.

Woodland period: 1,000-800 a.d.

Poverty Point, 1730-1350 b.c.

Sam Lockett & Clarence Moore

James Ford

clay balls

effigies

plummets

mound builders

Adena culture

Hopewell culture

Trade networks

[Week Four] 9-25: East, Northeast, Great Lakes: Mississippian Period to Contact

Required Readings:

Berlo & Phillips, pp. 79-86; 94-105

Thomas, “Cahokia,” pp. 152-62 (Canvas # 4)

Goldstein & Freeman, “Aztalan State Park,” pp. 4-14 (Canvas # 5)

Kansas Historical Society, “Traditions: Native American Bead Work,” (Canvas # 6)

Activity:


Video: Living St. Louis Cahokia Archaeologists

Primary Images Focus :

Cahokia Aztalan Quill work bandolier bag bead work

Vocabulary Focus:

Mississippian

Mississippian world view

hunters, gatherers, agriculture

atlatl

effigy mound

stockade

Woodhenge

spatial & social hierarchy

plaza

quill work

trade networks

bead work & floral designs

bandolier bag

moccasins

Unit 1 Exam Prep: refer to Unit 1 “Toolbox”

[Week Five] 10-2: Unit 1 Exam & Activity: Video (The Primal Mind) & discussion

Unit 2

[Week Six] 10-9: Southwest Native American: Architecture

Required Reading:

Berlo & Phillips, pp. 37-43

Houk, “Cliff Palace, Mesa Verde,” pp. 1-16 (Canvas # 1)

Brockway, “Chaco Canyon: Pueblo Bonito,” (Canvas # 2)

Activity:


Video: More than a Word: Native American-Based Sports Mascots


Pit House Cliff Palace, Mesa Verde Pueblo Bonito, Chaco Canyon

Vocabulary Focus:

Four Corners

Hohokam

Mogollon

Pueblo

Pit house

Anasazi

Richard Weatherall 1888

Spanish contact

cliff dwellings

kiva

sipapu

materials & methods

Chaco Canyon roads

NAGRA

Jesse Fewkes

North Road

[Week Seven] 10 16: Southwest Native American: Hohokam, Anasazi, Mogollon, Mimbres, Hopi Pottery

Required Reading:


Zabriskie, “Mimbres Pottery,” (Canvas # 3)

Activity:


Videos: Maria Martinez & Nampeyo


Anasazi Mimbres Maria Martinez Nampeyo

Vocabulary Focus:

Mimbres River

Jesse Fewkes

geometric, conventionalized, realistic

human, animal, geometric

utilitarian, spiritual

Mimbres pottery

kill hole

coil technique

Hopi Tewa

slip

arts & crafts

Maria Martinez

Nampeyo

Fred Harvey

Hopi House

Pueblo Revolt

[Week Eight] 10-23: Southwest Native American: Hopi & Navajo

Required Reading:


Jakobsen, “A Full History of Navajo Blankets and Rugs,” (Canvas # 4)

Bahti, “A Guide to Navajo Sand Painting,” pp. 7-14; 22-27; 46-47 (Canvas # 5)

Activity:


Video: Mid-19th Century Navajo Ute First Phase Blanket (Antiques Roadshow-PBS)


Hopi Pueblo Hopi Kachina Dance Navajo Rug Navajo Sand painting

Vocabulary Focus:

Navajo & Hopi

adobe

Kachina (Katsina)

Celestial ceremonies

Shepherdess

Spider man & Spider woman

Spanish churro sheep

“Navajo problem”

Pueblo Revolt

Serape, chief, saddle blankets

Hozho & hochxo

Chief’s blanket-Classic period

Eye Dazzler

Storm Pattern

HoganYeiUnit 2 Exam Prep: refer to Unit 2 “Tool Box”

[Week Nine] 10-30: Unit 2 Exam

Activity: Video: Navajo Rug-“Monster Slayer,” History Detectives PBS.org (In-Class)

Unit 3

[Week Ten] 11-6: Native American: The Great Plains-Painting & Craft Art

Required Reading:


Robinson, “Plains Indian Painting: The History and Development of an American Art Form”, pp. 11-25. (Canvas # 1)

Activity:



Plains Petroglyph Crow War Shield Dennis Cusick Wo-Haw, ledger art Pipe Bag

Vocabulary Focus:

petroglyph & pictograph

shield painting

narrative

tobacco

tipi

feathered bonnets

Iroquois

counting coup

Seneca mission

Dennis Cusick

reservation era

Fort Marion, Fl

Ledger art

Kiowa

Kiowa Five

beads

[Week Eleven] 11-13: Great Plains-Western Perspectives

Required Reading:

Catlin, “Manners, Customs, and Conditions of North American Indians,” pp. 145-48; 164-66 (Canvas # 2)

Hilleary, “American Indian Museum Showcases Kiowa Photographer Horace Poolaw,” (Canvas # 3)

Curtis, “Quotes”, (Canvas # 4)

Activity:

Week 11 focus questions

In-class discussion-emic vs etic


G. Catlin K. Bodmer E. Curtis H. Poolaw

Vocabulary Focus:

emic & etic

stereotype

noble savage

romantic fantasy

buffalo hunting/hide

tipi

feathered war bonnet

Manifest destiny

Indian Removal Act, 1830

Transcontinental railroad

Trail of Tears

G. Catlin & K. Bodmer

E. Curtis & H. Poolaw

Dawes Act, 1887

Unit 3 Exam Prep: refer to Unit 3 “Tool Box” (Canvas)

Week Twelve/11-20: Unit 3 Exam & Activity: Show & Tell? Or video

11-27-Thanksgiving Recess (No Class)

Unit 4

[Week Thirteen] 12-4: Pacific Northwest: Haida & Kwakiutl, Tlingit

Required Reading:


Stewart, “The Background”, pp. 17-30 (Canvas # 1)

Reid, pp. 37-44; 56-65; 228-30 (Canvas # 2)

Activity: Week 13 focus questions

Video: Full Circle (Kanopy films)


Tlingit Pole Kwakiutl Potlatch Kwakiutl Mask Tlingit blanket Bill Reid

Vocabulary Focus:

Haida, Tlingit, Kwakiutl

Woodcarving

Shamanism

Crest art

Heraldry

Mask

Formline style

Totem poles (house, memorial, mortuary, welcome, ridicule)

Potlatch

Pictograph

Chilkat weaving

Bill Reid

Raven, thunderbird, eagle, killer whale, wolf

Indian Act of Canada, 1884

American Indian Religious Freedom Act, 1978

[Week Fourteen] 12-11: Contemporary Art, Artists, & Issues

Required Reading:


Quick-to-See Smith, (Canvas # 3)

Heap of Birds, (Canvas # 4)

Walkingstick, (Canvas # 5)

Activity:

Week 14 focus questions & Hachivi Edgar Heap of Birds-creating word art

Discussion-UW-Stout decision to censor paintings….


Quick-to-See Smith Walkingstick Heap of Birds Truman Lowe Cal Peters

Vocabulary Focus:

Pictograph

Salish

Isolation, alienation,

Assimilation

Stereotype

Discrimination

Cherokee

Trail of tears

Chief Joseph

“when religion is lost, culture is lost”

Cheyenne

Marketing race

Fantasy & romance

Mascots as entertainment

Misrepresentation

Language vs image

Brand names & logos

Ho Chunk

Unit 4 Exam Prep: Go to Unit 4 “Tool Box” (Canvas)

[Week Fifteen] 12-16 (12:30) Unit 4 Exam

Art/AIS 260 Bibliography

Abbott, Lawrence. ed., I Stand in the Center of the Good. Lincoln: University of Nebraska Press, 1994. 704.0397 I15

Aller, Susan Bivin. Sitting Bull. Minneapolis: Lerner Publications Company, 2004.

Anthes, Bill. Edgar Heap of Birds. Durham: Duke University Press, 2015. N6537 H383 A58

“Artist Truman Lowe Talks About His Work in Vantage Point.” http://www.smithsonianmag.com/smithsonian-institution/artist-truman-lowe-talks-about-his-work-in-vantage-point-1193308/

Aztalan State Park. Department of Natural Resources. 1995.

Babcock, Barbara A, and Guy and Doris Monthan. The Pueblo Storyteller. Tucson: The University of Arizona Press, 1986. 738.37 P977B

Bahti, Mark. Navajo Sand Paintings. Tucson: Rio Nuevo Publishers, 2009. 759.189 B151N

Berlo, Janet C., and Ruth B. Phillips. Native North American Art. New York: Oxford University Press, 1998.

Berlo, Janet C., Plains Indian Drawings-1865-1935: Pages from a Visual History. New York: Harry N. Abrams, Inc., Publishers, 1996. 741.9 P698

Bird, Elizabeth. ed., Dressing in Feathers: The Construction of the Indian in American Popular Culture. Boulder: Westview Press, 1996. 305.897 D773

Birmingham, Robert A and Lynne G. Goldstein. Aztalan: Mysteries of an Ancient Indian Town. Madison: Wisconsin Historical Society Press, 2005. 977.585 B619

Blinman, Eric. “Anasazi Pottery: Evolution of a Technique.” Expedition 35 1993 14-22.

Brockway, A. “Chaco Canyon: Pueblo Bonito.” A Brockway’s Ancient Southwest www.abrock.com.

Brody, J.J., Catherine Scott, and Steven LeBlanc. Mimbres Pottery: Ancient Art of the American Southwest. New York: Hudson Hills Press, 1983. 738.309703 B864

Catlin, George. Letters and Notes on the Manners, Customs, and Conditions of North American Indians. New York: Dover Publications, Inc., 1973. 970.1 C36L V1 & V2.

http://www.abrock.com/

Chana, Jas. “Uni. of Wisconsin-Stout Moves to Censor Paintings of First Nations People.” National Coalition Against Censorship. August, 2016. http://ncac.org/letters/university-of-wisconsin-stout-moves-to-censor-paintings-depicting-first-nations-people

Clifton, James A. The Potawatomi. New York: Chelsea House Publishers, 1987. 979.3 C639

Colton, Harold S. Hopi Kachina Dolls with a Key to their Identification. Albuquerque: University of New Mexico Press, 1970.

Dalrymple, Larry. Indian Basketmakers of the Southwest. Santa Fe: Museum of New Mexico Press, 2000. 746.412 D151

Edgar Heap of Birds, “Heads Above Grass; Provocative Native American Public Art and Studio Practice” https://www.youtube.com/watch?v=5cFjvdcgmXk

Fleming, Paula Richardson, and Judith Lusky. The North American Indians in Early Photography. London: Calmann and King Ltd., 1988. 970.1 F597

Gilman, Patricia, and Harry J. Shafer. Mimbres Families and Households. University of Oklahoma: Archaeology Southwest, Fall 2003.

Gulbrandsen, Don. Edward Curtis: Visions of the First Americans. London: Chartwell Books, Inc., 2010.

Hansen, Emma I. Memory and Vision: Arts, Cultures, and Lives of Plains Indian People. Wyoming: Buffalo Bill Historical Center, 2007. 970.48. H248

Harris, Moira F. Between Two Cultures: Kiowa Art From Fort Marion. Pogo Press, 1989. 704.0397 H315

Hegmon, Michelle. “Mimbres Pottery: Meaning and Content.” Archaeology Southwest, 17 2003 7.

Hegmon, Michelle, and Margaret Nelson. “The Archaeology and Meaning of Mimbres.” Archaeology Southwest 17 2003 1-2.

Holiday, John, and Robert S. McPherson. A Navajo Legacy: The Life and Teachings of John Holiday. Norman: University of Oklahoma Press, 2001. Central 970.3 H732

Holstein, Philip, and Donnelley Erdman. Enduring Visions: 1000 Years of Southwestern Indian Art. New York: The Publishing Center for Cultural Resources, 1979. 704.0397 E56

Houk, Rose. Cliff Palace. Mesa Verde Museum Association. mesaverde.org.

Howard, Kathleen L, and Diana Pardue. Inventing the Southwest: The Fred Harvey Company and Native American Art. Flagstaff: Northland Publishing Co., 1996.

Hutchinson, Elizabeth. The Indian Craze: Primitivism, Modernism, and Transculturation in American Art 1890-1915. Durham: Duke University Press, 2009.

Johnson, Michael G. and Bill Yenne. Arts & Crafts of the Native American Tribes. Buffalo: Firefly Books Inc., 2011.

Kansas Historical Society. “Traditions: Native American Beadwork.” 1993.

Martinez, David. The Legends & Lands of Native North Americans. New York: Sterling Publishing Co., 2003. 398.208997M388

Mauer, Evan. Visions of the People: A Pictorial History of Plains Indian Life. Minneapolis: The Minneapolis Institute of Arts, 1992. 970.3 M453

Montgomery, David R. Craft and Skills of the Native Americans. New York: Skyhorse Publishing, 2009. 745.5 M787

National Museum of the American Indian. “Indian Museum Showcases Kiowa Photography Horace Poolaw.” 2013.

Ortel, Jo. Woodland Reflections: The Art of Truman Lowe. Madison: The University of Wisconsin Press, 2003. 730.92 L913

Ortel, Jo. “Truman Lowe Ho-Chunk,” Native Peoples Magazine: Art and Lifeways. February/March 2000, Vol. 13 Issue 2, 67-70.

Ourada, Patricia K. The Menominee. New York: Chelsea House Publishers, 1990. X970.3 093M

Penman, Sarah. Honor the Grandmothers: Dakota and Lakota Women Tell Their Stories. Ed. Minnesota: Minnesota Historical Society Press, 2000.

Penney, David W. North American Indian Art. London: Thames & Hudson, 2004.

Plog, Stephen. Ancient Peoples of the American Southwest. London: Thames and Hudson, 1997. 970.49 P729

Quick-to-See Smith, Juane. Our Land Ourselves: American Indian Contemporary Artists. Albany: University Art Gallery-SUNY, 1990.

Reichard, G. Navajo Medicine Man Sandpaintings. New York: Dover Publisher, 1977.

Reid, William. Solitary Raven: The Selected Readings of Bill Reid. Seattle: University of Washington Press, c2000. 704.03972 R359

Robinson, and Jane Ewers. ed., Plains Indian Art. Norman: University of Oklahoma Press, 2011. 704.0397 E948

Schaffer, Lynda. Native Americans Before 1492: The Mound building Centers of the Eastern Woodlands. New York: ME Sharp, Inc., 1992. 970.4 S525

Smithyman, Kathryn; Bobbie Kalman. Nations of the Western Great Lakes. New York: Crabtree Publishing Company, 2003. 970.3 S6645

Stewart, Hilary. Looking at Totem Poles. Seattle: University of Washington Press, 1993. 730.8997 S849

Tedlock, Barbara. The Beautiful and the Dangerous: Encounters with the Zuni Indians. New York: Penguin Group, 1992.

Thomas, David Hurst. Exploring Native North America. New York: Oxford University Press, 2000. 970.1 T455E

Townsend, Richard F. Hero, Hawk, and Open Hand. Ed. Chicago: The Art Institute of Chicago, 2004. Central 704.0397 H558

Treuer, Anton. Atlas of Indian Nations. Washington D.C.: National Geographic Society, 2013. 970.1 T812AT

“Truman Lowe: Contemporary Native American Artist” https://wimedialab.pbslearningmedia.org/resource/natam.arts.visarts.truman/native-american-culture-truman-lowe-contemporary-native-american-artist/#.WXpIIcaov3h

Welch, Catherine A. Geronimo. Minneapolis: Lerner Publications Company, 2004.

Zabriskie, Sarah, “Mimbres Pottery.” Smithsonian National Museum of Natural History.

https://anthropology.si.edu/cm/mimbres.htm

Videography

Ancient Pueblo People: The Anasazi. Produced and Directed by Ron Meyer. 30 min., Ambrose Video Publishing. 2007. DVD.America Before Columbus. Produced and Directed by Victor Garber. 90 min., National Geographic Channel, 2010. DVD.

“Appraisal: Mid-19th Century Navajo Ute First Phase Blanket.” PBS Antiques Roadshow. https://www.pbs.org/video/antiques-roadshow-mid-19th-century-navajo-ute-first-phase-blanket/

“Maria Martinez: Indian Pottery of San Ildefonso,” (Documentary, 1972, VHS) https://www.youtube.com/watch?v=SkUGm87DE0k

“Nampeyo (Hopi-Tewa), polychrome jar.” https://www.khanacademy.org/humanities/art-americas/native-north-america/native-american-southwest/v/nampeyo-jar

Primal Mind. Produced and Directed by Primal Mind Foundation. 58 min., Unipex Entertainment, 1996. DVD.

Racial Stereotypes in the Media. Produced and Directed by Films for the Humanities and Sciences. 42 min., 2008. Digital Media.

Motion Pictures excerpts:

A Man Called Horse. Directed by Elliot Silverstein, 144 min., Cinema Center Films, 1970.

Dances with Wolves. Directed by Kevin Costner. 180 min., Orion Pictures, 1990.

Last of the Dogmen. Directed by Tab Murphy, 188 min., Savoy Pictures Pathé, 1995

https://www.khanacademy.org/humanities/art-americas/native-north-america/native-american-southwest/v/nampeyo-jar

https://www.khanacademy.org/humanities/art-americas/native-north-america/native-american-southwest/v/nampeyo-jar

https://www.youtube.com/watch?v=SkUGm87DE0k

https://www.pbs.org/video/antiques-roadshow-mid-19th-century-navajo-ute-first-phase-blanket/

https://anthropology.si.edu/cm/mimbres.htm

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