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2017 Fernald Caroline Dissert
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By CAROLINE JEAN FERNALD Norman, Oklahoma 2017 THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. W. Jackson Rushing, III, Chair ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Kenneth Haltman ______________________________ Dr. David Wrobel © Copyright by CAROLINE JEAN FERNALD 2017 All Rights Reserved. For James Hagerty Acknowledgements I wish to extend my most sincere appreciation to my dissertation committee. Your influence on my work is, perhaps, apparent, but I am truly grateful for the guidance you have provided over the years. Your patience and support while I balanced the weight of a museum career and the completion of my dissertation meant the world! I would certainly be remiss to not thank the staff, trustees, and volunteers at the Millicent Rogers Museum for bearing with me while I finalized my degree. Your kind words, enthusiasm, and encouragement were greatly appreciated. I know I looked dreadfully tired in the weeks prior to the completion of my dissertation and I thank you for not mentioning it. The Couse Foundation, the University of Oklahoma’s Charles M. Russell Center, and the School of Visual Arts, likewise, deserve a heartfelt thank you for introducing me to the wonderful world of Taos and supporting my research. A very special thank you is needed for Ginnie and Ernie Leavitt, Carl Jones, and Byron Price. -
The Colorado Magazine
THE COLORADO MAGAZINE Published by The State Historical and Natural History Society of Colorado Devoted to the Interests of the Society, Colorado, and the West Copyrighted 1924 by the State Historical and Natural History Society of Colorado. VOL. Denver, Colorado, November, 1924 NO. 7 Spanish Expeditions Into Colorado:f. By Alfred Barnaby Thomas, M. A., Berkeley, California. I. INTRODUCTION We customarily associate Spanish explorations in the West with New Mexico, with Texas, with Arizona, or with California, but not with Colorado. Yet Spaniards in the eighteenth century were well acquainted with large portions of the region now com prised in that state. Local historians of Colorado often err by pushing the clock too far back, and asserting that Coronado, Oriate, and other sixteenth century conquistadores entered the state. On the other hand, they fail to mention several important expeditions which at a later date did enter the confines of the state. An Outpost of New Mexico.-The Colorado region in Span ish days was a frontier of New Mexico. Santa Fe was the base for Colorado as San Agustin was for Georgia. Three interests especially spurred the New Mexicans to make long journeys northward to the Platte River, to the upper Arkansas in central Colorado, and to the Dolores, Uncomphagre, Gunnison, and Grand Rivers on the western borders. These interests were Indians, French intruders, and rumored mines. After 1673 reports of Frenchmen in the Pawnee country constantly worried officials at Santa Fe. Frequently tales of gold and sil'ver were wafted southward to sensitive Spanish ears at the New Mexico capital. -
1 Navajo and Zuni Turquoise
Navajo and Zuni Turquoise: A Squash Blossom Necklace Case Study By Lucy Gamble Native American jewelry has been admired as adornment and investigated as functional works of cultural significance since the earliest Spanish contact in the 1500s. The unique styles of Native American jewelry across the American Southwest distinguish the pieces as emblems of their region and culture. Although each piece of jewelry is distinct, there are many reoccurring design elements and symbols throughout generations and various tribes. One identifiable widely repeated element of Native American jewelry is the use of the naturally occurring stone turquoise. Turquoise is used in many different types of jewelry, but it is prominently featured in the squash blossom necklace. In my thesis, I use methods of material culture and symbolic anthropology to investigate the use of turquoise in the squash blossom necklace. My work focuses on a collection of squash blossom necklaces collected from donors between 1935 and 1985, and housed at the Colorado Springs Fine Arts Center, to examine design elements and themes amongst the necklaces. Investigating the issues of transforming cultural items to commodities, I analyze these objects as reflective of the culture from which they originate. The market for Native American jewelry complicates the cultural analysis of these objects. When a jeweler is creating a piece within a cultural context it can be examined as reflective of that particular culture, but when the piece is created to be sold there are complications. Placing a value on the necklace puts a price on the cultural value, which in turn has the consumer viewing culture as commodity. -
The Role of Zuni Knifewings and Rainbow
SELLING AUTHENTICITY: THE ROLE OF ZUNI KNIFEWINGS AND RAINBOW GODS IN TOURISM OF THE AMERICAN SOUTHWEST A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Lauren M. Marchaza June 2007 This thesis entitled SELLING AUTHENTICITY: THE ROLE OF ZUNI KNIFEWINGS AND RAINBOW GODS IN TOURISM OF THE AMERICAN SOUTHWEST BY LAUREN MARCHAZA has been approved for the School of Art and the College of Fine Arts by Thomas A. Patin Associate Professor of Art Charles McWeeny Dean, College of Fine Arts For William, whose constant support makes anything possible Acknowledgements Special thanks to my committee members, and especially to Jennifer McLerran and the Kennedy Museum of Art in Athens, Ohio for permitting long term research on and the exhibition of objects from the Edwin L. and Ruth E. Kennedy Southwest Native American Art Collection. I must also thank Jim Enote, Dan Simplicio Jr., and the A:shiwi A:wan Museum and Heritage Center in Zuni, New Mexico. Your time, support, and participation have been invaluable. Table of Contents Acknowledgements 4 List of Illustrations 6 Introduction 7 Tourism and Primitivism 10 Knifewings and Rainbow Gods: History and Attraction 19 Signifieds, Signifiers, and Markers 23 Traders, Knowledge, Power 31 The Post: Design, Social Hierarchy, and the Performance of Authenticity 41 Interior Display: Cabinet of Curiosities and “Commercial Conquest” 47 Pawn and Authenticity 50 Conclusion 56 Bibliography 60 Illustrations Figures 1. Teddy Weahkee, Knifewing Belt Buckle 13 2. Annalee Tekala, Rainbow God Bolo Tie 20 3. -
PDF Download Zuni Kachinas : Patterns and Sources
ZUNI KACHINAS : PATTERNS AND SOURCES PDF, EPUB, EBOOK Barton Wright | 156 pages | 01 Nov 1989 | Graphic Arts Books | 9780960132249 | English | United Kingdom Zuni Kachinas : Patterns and Sources PDF Book Turquoise conveys a special meaning as it has for centuries and in populations across the globe. Crown very lightly bumped, tiny bit of fraying to upper corner of rear board, a couple of pages very lightly bumped at fore-edge. When the Kachinas return to the spirit world at the end of the planting, they return with prayers of the Hopi that we might all continue on this earth for another round in the circle of life. Published by Harmsen Publishing Company, U. Dust Jacket Condition: Good. Kachinas of the Zuni. In its solemnity, this kachina dance differs from the plaza dances that precede it throughout the spring and summer. Book is in Used-Good condition. Kachinas of the Zuni is in as new condition, still under the publisher's unopened shrink wrap. Download as PDF Printable version. Light wear to boards, otherwise in very good condition. Hardcover in black cloth with silver cloth spine with DJ. Popular Searches. If no results appear, use Enter to do a full site search. Fan Zone. Kachinas of the Zuni Wright, Barton. There are more than different Kachinas, each with its own separate attributes, representing everything from animals to abstract concepts. We offer a wide variety of Native American Cultural Art including authentic Hopi Kachina dolls, pueblo pottery, Navajo Wool Rugs, hand-dyed leather belts, dreamcatchers, tomahawks and other Southwestern and Native American artifacts, to beautify your home and your life. -
More Than a Scenic Mountain Landscape: Valles Caldera National Preserve Land Use History
CHAPTER 9. The Valles Caldera National Preserve as a Multi-Layered Ethnographic Landscape Kurt F. Anschuetz Introduction variously exercised their rights to permit, deny, or tolerate these activities by others. The land use history of the Valles Caldera National The second consequence was that the land grant’s owners Preserve (VCNP), as represented in the documentary record possessed the right to sever particular access and use rights maintained in various archives and libraries, focuses primarily from the land. The legislative actions of the U.S. Congress on the Hispanic and Anglo-American occupation of the locale rendered obsolete the traditional aboriginal view that the subsequent to 1860. In an act of June 21, 1860, the U.S. Valles Caldera was a place imbued with certain inseparable Congress authorized the Baca Land Grant heirs to choose as qualities whereby resources, including the land, water, plants, many as five square tracts of “vacant land” (i.e., places where animals, and minerals, obtained meaning in relationship to one there was neither permanent residence nor formally claimed another (see below). The definition of the Baca Location, built ownership) to replace the 496,447-acre (200,901-ha) grant to upon the Western idea that the land and its resources were which they had agreed to extinguish their rights in favor of the discrete, quantifiable commodities, occurred just as the United town of Las Vegas (U.S. Congress, House 1860; U.S. Public States was incorporating the Territory of New Mexico into its Law 167 1860). Luis María Cabeza de Baca’s heirs selected national economy and society. -
The Educational Function of Native American Art Shops in Flagstaff, Arizona Tamara Mcpeak
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 The Educational Function of Native American Art Shops in Flagstaff, Arizona Tamara McPeak Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE EDUCATIONAL FUNCTION OF NATIVE AMERICAN ART SHOPS IN FLAGSTAFF, ARIZONA By TAMARA McPEAK A Thesis submitted to the Department of Anthropology in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2004 The members of the Committee approve the thesis of Tamara McPeak defended on March 18, 2004. ________________________ Kathryn Josserand Professor Directing Thesis ________________________ Bruce Grindal Committee Member ________________________ Elizabeth Peters Committee Member Approved: Dean Falk, Chair, Department of Anthropology The Office of Graduate Studies has verified and approved the above named committee members ii TABLE OF CONTENTS List of Figures v Abstract vi INTRODUCTION 1 1. EARLY INFLUENCES ON THE SOUTHWESTERN NATIVE AMERICAN ART MARKET The Santa Fe Railroad and the Fred Harvey Company 9 The Santa Fe Indian Market 14 The Indian Arts and Crafts Board 16 The Museum of Northern Arizona 20 2. MODERN INFLUENCES ON THE SOUTHWESTERN NATIVE AMERICAN ART MARKET The Santa Fe Indian Market 25 The Museum of Northern Arizona 27 Popular and Scholarly Literature 30 3. OBSERVATIONS IN NATIVE AMERICAN ART SHOPS IN FLAGSTAFF, ARIZONA 33 Puchteca Indian Art 34 Winter Sun Trading Company 46 Painted Desert Trading Company 52 Thunder Mountain 58 The Jonathan Day Collection 60 The Museum Shop in the Museum of Northern Arizona 66 iii 4. -
IR Catalog Auction 9-26-15.Xlsx
lotnum lead description1 Condition Low High 1 Navajo Folk Art Cottonwood Root Carving "Navajo Goat Dancer" signed Marvin Jim & Estimate Estimate hallmarked with feather. 11"H. From Twin Rocks T.P. Bluff, UT 300 500 2 Navajo Folk Art Sculpture Alabaster Horse Head with flowing mane, signed Mike Toledo, 1990. 7"H x 1.8"W x 9"L. 100 300 3 Navajo Folk Art Carving "Uncle Sam on Motor-Trike", signed Delbert Buck. 1976. 9"H x 3.5"W x 10"L. (TPSp.38-39. TPGp.104,125-126.) 100 300 4 Navajo Folk Art Cottonwood Root Carving "Cowboy Chicken with Red Sneakers & Black 10 gal. hat, signed Rena Juan. 7.5"H. (TPG p. 104,129) 150 300 5 Navajo Folk Art Cottonwood Root Carving "Changing Woman" by Marvin Jim. 14.5"H x 5.5"D 1500 3000 6 Navajo Folk Art Reservation Truck made from many different stones & materials. R. Johnson, Craftsman. 1.9"H x 4"L x 2"W. 100 300 7 Navajo Folk Art Cottonwood Root Carving "Shalako Dawn". Double Longhair Doll, signed R.Pino, '01. 6.5"H x 5"W 50 150 8 Navajo Folk Art Large Ceremonial Basket with cloth plug, cornmeal residue from ceremonial use. 2.6"H x 13.5"D. Good color 150 300 9 Navajo Folk Art Cottonwood Root Carving Patriotic Chicken w/ red cowboy boots & star decorated 10 gal. hat. Signed & dated, Dennis Tom. 9.5"H. 70 150 10 Navajo Folk Art Pottery Buffalo Bull by Betty Manygoats. Signed BM 5.8"H x 4.9"W x 12.0 L. -
A Critical Bibliography on North American Indians, for K-12. INSTITUTION National Museum of Natural History, Washington, DC
DOCUMENT RESUME ED 432 424 RC 022 016 AUTHOR Kaupp, P. Ann, Comp.; Burnett, Fiona, Comp.; Malloy, Maureen, Comp.; Wilson, Cheryl, Comp. TITLE A Critical Bibliography on North American Indians, for K-12. INSTITUTION National Museum of Natural History, Washington, DC. PUB DATE 1996-00-00 NOTE 215p. AVAILABLE FROM Web site: http://nmnhwww.si.edu/anthro/outreach/Indbibl/bibliogr.html (full text). PUB TYPE Guides Non-Classroom (055) Reference Materials - Bibliographies (131) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Adolescent Literature; Alaska Natives; American Indian Culture; *American Indian History; American Indian Literature; American Indian Studies; *American Indians; Annotated Bibliographies; Books; Canada Natives; *Childrens Literature; Criticism; Cultural Awareness; Educational Resources; Elementary Secondary Education; Ethnic Bias; Evaluation Criteria; Foreign Countries; *Reading Material Selection; Stereotypes; Tribes IDENTIFIERS *Cultural Sensitivity ABSTRACT This annotated bibliography is a response to teachers' concerns about choosing culturally sensitive and historically accurate books about American Indians and Alaska Natives. It contains critical annotations and evaluations of approximately 1,000 books, most published 1960-93, and points out controversial titles and disagreements about specific books. The focus is primarily on materials for elementary and secondary students but also includes publications of interest to the general public. Sections are organized by culture area--General, Southwest, Northwest Coast, California, Plateau, Arctic, Plains, Great Basin, Subarctic, Northeast, and Southeast--and each area is further organized by tribe and then divided into nonfiction, fiction, biographies, and traditional stories. Within each section, entries are listed alphabetically by author and include publisher, publishing date, and number of pages. Broad reading-level categories are indicated as lower elementary, upper elementary, secondary, or adult. -
Syracuse University Art Galleries November 3D, 1984 - January 13, 1985
Syracuse University Art Galleries November 3D, 1984 - January 13, 1985 The Joe and Emily Lowe Art Gallery School of Art College of Visual and Performing Arts Syracuse University Syracuse, New York 13210 Syracuse University Art Galleries © 1984 Joe and Emi Lowe Art Gallery School of Art, College of Visual Performing Arts Syracuse Syracuse, New York 13210 Joseph A. Scala, Director All Rights Reserved Most Pueblo potters dig, clean, and grind their own clay in The two types of sculpture in this exhibition are the kachina the same manner as their ancestors. Water is added to make and fetish carvings made the Hopi, Zuni and Acomahs. the clay malleable and temper is added for strength. The Kachina dolls, or tihus as they are called by the Hopi, are temper is any insoluble material such as crushed rock, pot one of the most popular Native American sculptural forms. tery sherds, or sand which binds the clay and helps reduce Traditionally carved by men from the root of the cotton shrinkage during drying or firing. wood tree, these dolls had both a sacred and secular pur Pueblo pottery is built by the coil and scrape method. pose. They were playthings given to children and young Coils, rope-like fillets of clay, are rolled out and wound women to instruct them about the kachina spirits. The dolls around a preformed saucer-shaped clay disc. The sides of represent the masked dancers who impersonate the the vessel are built up by adding a succession of coils. The kachinas when they dwell among humanity during the six Kachina figure, coils are then smoothed and the walls of the pot thinned by month ceremonial cycle. -
Find the Exhibitor TUCSON SHOW KEY
Find The Exhibitor TUCSON SHOW KEY CODE SHOW PAGE AAV African Art Village 218 # AGTA AGTA GemFair™ 123 100% Natural, Ltd. .............................................................AGTA AIE American Indian Arts Exposition 132 14K-18K Gold Earrings ......................................................JOGS 1-800 Loose Diamonds/Lamden Jewelry ....................... AIW Arizona Independent Warehouse 219 GJX 2 Guys Rocks ........................................................................MCR AMC Aurora Mineral Corp. Show (formerly Granada Ave. Mineral Show) 219 3090 Gems .........................................................................AGTA BB The Best Bead Show 219 3Design — Gravotech .......................................................AGTA 4 G’s Trading Corp. ............................................................AGTA EI Executive Inn Fossil Mineral & Gem show 136 49er Minerals, Inc. .............................................................TGMS FMA Fossil & Mineral Alley 137 7 Hands Design .................................................................. TBTB 8 Gems Ind..........................................................................JOGS FMI Fine Minerals International 219 8T8 Design ...............................................................................BB GBX Globe-X Gem & Mineral Show 168 GGE Granada Gallery — Fine Natural Designs 220 A GJX GJX; Gem & Jewelry Exchange 138 GLH Grant Gem & Jewelry Show 170 A One Gems, Inc. ..................................................................GJX A&A -
SHOW CALENDAR Directions: Mountain Lion (North), Bear (West), Badger (South), Wolf (East), Eagle (Above), Continues on Back Cover
Volume 19 ◆ Issue 1 September 2005 U.S. Department of the Interior • 1849 C Street, NW • Washington, DC 20240 • (202) 208-4056 Open Monday–Friday 8:30 a.m.–4:30 p.m. & the 3rd Saturday of each month 10:00 a.m.–4:00 p.m. www.indiancraftshop.com • email: [email protected] Representing American Indian Arts and Crafts Since 1938. ZUNI FETISH SHOW September 12–23, 2005 Presentation, Book Signing and Carving Demonstration September 16–17 The fetishes are coming! We are pleased to present Zuni Fetishes and Carvings as our September Highlight of the Month. Be sure to mark your calendar on September 16 and 17 to attend a special one hour presentation in the Interior Museum by Kent McManis, nationally recognized author and scholar known for his knowledge and experience with Zuni fetish carvings. Following the presentation, Kent McManis will sign books and Zuni carvers, Lena Boone and her daughter Evalena Boone, will demonstrate fetish carving. September 16–17, 2005 Presentation on Zuni Fetishes & Carvings 12 a.m.–1 p.m. Book Signing and Fetish Identification 1 p.m.–3 p.m. Kent McManis will sign copies of Zuni Fetishes and Carvings (One Volume, Expanded Edition*), Rio Nuevo, 2004; Zuni Fetish Carvers, The Mid-Century Masters, Kyaykhol A:shiwi Wema:W’asha: A:Wanikwa’Kowa, Wheelwright Museum of the American Indian, 2003; and A Bridge from Past to Present: Zuni Fetish Carvers of the 1970s, Wheelwright Museum of the American Indian, 2005. The McManis books on fetishes are great references for all levels of collecting and make a wonderful gift along with a fetish.