The Art Tradition Of Beadwork

A former professor and museum director offers a fascinating, in-depth look at the culture and history of beaded objects around the world. From a beaded dress found in an ancient Egyptian tomb to the beaded fringe on a 1920s Parisian flapper’s hem, humans throughout history have used beading as a way to express, adorn, and tell a story. Bol explores beadwork across the world and through the ages, showing how beading has taken on many different styles, forms, and purposes for different cultures. She looks at children’s clothing, puberty ceremonies, burials, emblems of social status and leadership, festivals, and many other cultural occasions that involve the use of beadwork. Images of artifacts and heirlooms as well as photography of people and their beadwork enhance the scholarship of this book for a beautiful, enlightening addition to art, history, multicultural collections everywhere.

A fascinating, in-depth look at the culture and history of beaded objects around the world. From a beaded dress found in an ancient Egyptian tomb to the beaded fringe on a 1920s Parisian flapper's hem, humans throughout history have used beading as a way to express, adorn, and tell a story. Bol explores beadwork across the world and through the ages, showing how beading has taken on many different styles, forms, and purposes for different cultures. She looks at children's clothing, puberty ceremonies, burials, emblems of social status and leadership, festivals, and many other cultural occasions that involve the use of beadwork. Images of artifacts and heirlooms as well as photography of people and their beadwork enhance the scholarship of this book for a beautiful, enlightening addition to art, history, multicultural collections everywhere. Marsha C. Bol, Ph.D, is a museum director emerita, curator, and author. She taught at the university level for thirty-four years, and served as Director and Curator of Latin American Folk Art at the Museum of International Folk Art, Santa Fe, New Mexico; Director of the New Mexico Museum of Art; Associate Professor of Museum Studies at the University of Texas in San Antonio; Associate Curator of Anthropology at the Carnegie Museum of Natural History in Pittsburgh, PA; and Curator at the Maxwell Museum of Anthropology at the University of New Mexico. Her academic specialty is Plains Indian, especially Lakota, women's arts of beadwork, and quillwork.

Sunset. Fire. Rainbow. Drawing on such common occurrences of light, Navajo artists have crafted an uncommon array of design in colored glass beads. Beadwork is an art form introduced to the Navajos through other Indian and Euro-American contacts, but it is one that they have truly made their own. More than simple crafts, Navajo beaded designs are architectures of light. Ellen Moore has written the first history of Navajo beadwork—belts and hatbands, baskets and necklaces—in a book that examines both the influence of Navajo beliefs in the creation of this art and the primacy of light and color in Navajo culture. Navajo Beadwork: Architectures of Light traces the evolution of the art as explained by traders, Navajo consultants, and Navajo beadworkers themselves. It also shares the visions, words, and art of 23 individual artists to reveal the influences on their creativity and show how they go about creating their designs. As Moore reveals, Navajo beadwork is based on an aggregate of beliefs, categories, and symbols that are individually interpreted and transposed into beaded designs. Most designs are generated from close observation of light in the natural world, then structured according to either Navajo tradition or the newer spirituality of the Native American Church. For many beadworkers, creating designs taps deeply embedded beliefs so that beaded objects reflect their thoughts and prayers, their aesthetic sensibilities, and their sense of being Navajo—but above all, their attention to light and its properties. No other book offers such an intimate view of this creative process, and its striking color plates attest to the wondrous results. Navajo Beadwork: Architectures of Light is a valuable record of ethnographic research and a rich source of artistic insight for lovers of beadwork and Native American art.

Looks at a variety of beads produced around the world, discusses their religious and social aspects, and describes beaded clothing in primitive societies. Reprint.

This uniquely designed book and kit with a detachable plexiglass spine contains nearly 2,000 colorful beads and instructions to make a variety of jewelry items while learning about African culture. 100 illustrations.

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.