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Imprisoned Art, Complex Patronage

2011. Joyce M. Szabo

Joyce Szabo’s examination of the two drawing books by Zotom and Howling Wolf encompasses their origins and the issues surrounding their commission as well as what the images say about their creators and their collector. Szabo augments the complete reproduction of each page with detail photographs of the drawings.

Indians & Energy

2010. Edited by Sherry L. Smith and Brian Frehner

This book explores the ways people have transformed natural resources in the American Southwest into fuel supplies for human consumption. Not only do Native Americans possess a large percentage of the Southwest’s total acreage, but much of the nation’s coal, oil, and uranium resources reside on tribal lands.

Indian Policies in the Americas

2014. William Y. Adams

In this volume, Adams addresses the idea that “the Indian,” as conceived by colonial powers and later by different postcolonial interest groups, was as much ideology as empirical reality. Adams surveys the policies of the various colonial and postcolonial powers, then reflects upon the great ideological, moral, and intellectual issues that underlay those policies.

Indian Subjects

2014. William Y. Adams

While histories of the devastating impact of boarding schools — and Native responses to those schools — have dominated academic and community views of indigenous educational history, the valuable lessons from these boarding school histories in the United States and Canada nonetheless provide a fairly narrow view of indigenous educational experiences. Indian Subjects pushes beyond that history.

In the Places of the Spirits

2010. David Grant Noble; Foreword by N. Scott Momaday

This book represents the culmination of David Grant Noble’s forty-year career as a fine arts photographer and writer. It features seventy-six duotone plates of the land, people, and deep past of the Southwest, most published here for the first time.

Katherine Dunham

2014. Edited by Elizabeth Chin

This book explores Katherine Dunham’s contribution to anthropology and the ongoing relevance of her ideas and methodologies, rejecting the idea that art and academics need to be cleanly separated from each other. Drawing from Dunham’s holistic vision, the contributors began to experiment with how to bring the practice of art back into the discipline of anthropology—and vice versa.