A New And Native Beauty

For over 150 years, Tlingit women artists have beaded colorful, intricately beautiful designs on moccasins, dolls, octopus bags, tunics, and other garments. Painful Beauty suggests that at a time when Indigenous cultural practices were actively being repressed, beading supported cultural continuity, demonstrating Tlingit women’s resilience, strength, and power. Beadwork served many uses, from the ceremonial to the economic, as women created beaded pieces for community use and to sell to tourists. Like other Tlingit art, beadwork reflects rich artistic visions with deep connections to the environment, clan histories, and Tlingit worldviews. Contemporary Tlingit artists Alison Bremner, Chloe French, Shgen Doo Tan George, Lily Hudson Hope, Tanis S’eiltin, and Larry McNeil foreground the significance of historical beading practices in their diverse, boundary-pushing artworks. Working with museum collection materials, photographs, archives, and interviews with artists and elders, Megan Smetzer reframes this often overlooked artform as a site of historical negotiations and contemporary inspirations. She shows how beading gave Tlingit women the freedom to innovate aesthetically, assert their clan crests and identities, support tribal sovereignty, and pass on cultural knowledge. Painful Beauty is the first dedicated study of Tlingit beadwork and contributes to the expanding literature addressing women’s artistic expressions on the Northwest Coast.

A product of the contagious optimism of the early 1900s, the Gamble House is a modern Mecca for students of architecture and design. Its genius lies in the harmonious integration of details, from the circular driveway lying below the lawn like the bed of a stream, to the custom carpets matched to patterns on rare ceramics. Including lustrous photographs taken using only available light, and biographical sketches of the owners and architects, this book will inspire designers everywhere.

This fresh look at the Arts and Crafts Movement charts its origins in reformist ideals, its engagement with commercial culture, and its ultimate place in everyday households.

One hundred years ago Charles and Henry Greene developed a new and distinctive architectural and decorative style that blended Arts & Crafts and Asian influences with California sensibility and obsessive attention to detail. That innovative style is instantly recognizable today. "David Mathias, author of this richly personal appreciation of the Greenes…comes to Greene and Greene from the perspective of an amateur woodworker with a fine aesthetic sense. Through his writing we are able to appreciate the Greenes' houses and furnishings almost as if we were hearing from one of their builders. Through stunning and perceptive new photography, the illustrated spaces and furnishings illuminate the genius of the Greenes' designs, material selection and craft, which has caused so many to celebrate and be seduced by their work…Being a woodworker, Mathias also pays due homage to John and Peter Hall, the Swedish brothers who worked closely with the Greenes on their finest houses. Mathias correctly grasps how without the Halls, the Greenes would lack a significant measure of the reputation that they enjoy today. Relatively few writers have focused exclusively on Greene and Greene, and so it is a privilege whenever a talented one such as Mr. Mathias comes along. Be forewarned that through this book his seduction may become yours, too." Edward R. Bosley, James N. Gamble Director The Gamble House, Pasadena School of Architecture, University of Southern California

A fully illustrated catalogue presenting new research on the objects in the exhibition will include an essay by the guest curator, David Penney, and contributions from renowned experts, offering insight into the visual and material diversity of the collection and providing a greater understanding of the social and cultural worlds from which these works came. Contributors include Janet Catherine Berlo, Professor of Visual and Cultural Studies at the University of Rochester; Bruce Bernstein, executive director of the Continuous Pathways Foundation, Pueblo of Pojoaque, New Mexico; Barbara Brotherton, the curator of Native American art at the Seattle Art Museum; Joe D. Horse Capture, associate curator at the National Museum of the American Indian; and Susan Secakuku, a Hopi curator and consultant for museums and cultural organizations.

This landmark publication reevaluates historical Native American art as a crucial but under-examined component of American art history. The Charles and Valerie Diker Collection, a transformative promised gift to The Metropolitan Museum of Art, includes masterworks from more than fifty cultures across North America. The works highlighted in this volume span centuries, from before contact with European settlers to the early twentieth century. In this beautifully illustrated volume, featuring all new photography, the innovative visions of known and unknown makers are presented in a wide variety of forms, from painting, sculpture, and drawing to regalia, ceramics, and baskets. The book provides key insights into the art, culture, and daily life of culturally distinct Indigenous peoples along with critical and popular perceptions over time, revealing that to engage Native art is to reconsider the very meaning of America. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}