No Deal! encompasses a diverse group of artists, curators, art historians, and anthropologists from Australia and North America in order to investigate social relations of possession through the artifacts and motifs of Indigenous expressive culture. The contributors speak from the standpoints of Indigenous systems of knowledge as well as from western epistemologies and their institutions, interrogating what it means to “own culture.” The case studies in this volume contribute to notions of “ownership” and “possession” through the lens of art and its associated rights to production, circulation, performance, and representation.
With uncanny skill, Mary Mito brings the world into focus—ripples on the water’s surface, a stick’s shadow, a scattering of sand. She convincingly renders sights that never call out to us, that we assume to be beneath our notice, like barren fields or animal tracks.
This long-awaited collection of Blaisdell’s critical writings includes essays on literature, art, and film, along with moving tributes by some of the distinguished writers who numbered Blaisdell among their friends.
Karl Koenig has been photographing Holocaust concentration camps for more than ten years. These photographs of the architecture and landscape of suffering, he believes, "œmay have some impact on people who are on the path to indifference."
Plains Drawings by Howling Wolf and Zotom at the Autry National Center
By Joyce M. Szabo
$30.00 Paperback 978-1-934691-46-5 September 2011
$35.00 Hardcover 978-1-934691-45-8 September 2011
The study of what has become known as Plains Indian ledger art and of Fort Marion drawings in particular, has burgeoned in the last forty years. 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.
In this historical study, Mauro analyzes the visual imagery produced at the Carlisle Indian Industrial School as a specific instance of the aesthetics of Americanization at work. His work combines a consideration of cultural contexts and themes specific to the United States of the time and critical theory to flesh out innovative historical readings of the photographic materials.
This study examines the ways artists, architects, filmmakers, photographers, and other producers of visual culture in Mexico, the United States, Europe, and beyond have mined Mayan history and imagery.