University of Wisconsin-Milwaukee at WaukeshaArt/AIS 260: American Indian Art
Instructor: Timothy J. Booth, Senior Lecturer Art/AISOffice: S121
Office Hours: T/Th 10:30-11:30 & by appointmentPhone: 262-521-5446
Course DescriptionThis course will serve as a general survey of the arts and culture of North America Indians from the pre- Columbian period to the present. This timeline will be examined within an historical context, considering the religious, philosophical, aesthetic, and cultural contexts of Native Americans before and after “contact”. For the sake of clarity, our study will be structured according geographic and/or culture areas.
Course ObjectivesBy the end of the semester you should be able to identify, classify, and explain via various assessment tools, major artistic styles and iconography of the different Native American groups. As well, you should be able to apply historical art and anthropological terminology as they relate to specific cultural regions of Native North American art. You should have an understanding of the issues facing Native Americans from the pre-Columbian era and post-contact era. This includes the impact trade had on indigenous groups and how European contact affected artistic production and styles.
Although some of the questions we will ask will be concerned with style or why art looks like it does, other inquiries will focus on what the art means, both in a narrow, specific or iconographical sense and in a wider iconological sense or cultural world view. We will also explore how trade among indigenous groups impacted art and eventually how European “contact” affected it.
1) Classify Native North American art based on cultural artistic styles.
2) Apply appropriate historical art and anthropology terminology as they relate to specific cultural regions of Native North American art.
3) Identify intracultural influences on style and iconography of various Native North American artistic traditions and philosophies.
4) Explain historical factors that influenced the form and function of Native American art.
5) Detail factors affecting contemporary Native American art.
Criteria for EvaluationThis course will be divided into 4 units with one exam for each unit. In addition, students will be required to complete weekly focus questions and in-class discussions based upon assigned readings and videos. Each in-class exam will include multiple choice, true/false and matching questions based on image identification/analysis, and essays focused on single image and image comparisons. All exams will be generated from assigned readings, classroom lectures, focus questions, discussions, and videos. Students are required to take careful notes on all these required activities. A field project/exhibition will make up the other activity of the course. Details of the assignment will be provided later. Extra credit opportunities may be available for students wishing to improve their knowledge of Native American art and culture.
Exam Multiple ChoiceMultiple choice questions will make up one-half of each exam. They total 50% of the total grade for each exam. Questions 1-10, will be accompanied by a single work of art which you will be required to identify and answer a question related to an element of style and/or iconography. Questions 11-20 are straight multiple choice, again, related to elements of style and/or iconography and historical context.
Exam EssaysThe essays represent the other 50% of the exam grade. Single image essays are worth 10% and the image comparison essay is worth 40%. A letter grade is assigned for each portion of the exam and averaged as one total grade for each exam. Essay responses for Exams (single image essays & image comparison essays) will be evaluated on following criteria: The best essays will demonstrate exceptional comprehension of the materials including historical & thematic elements, and the stylistic & iconographic terminology for that exam. The presentation of the essay is polished in its clarity, organization and is grammatically correct. Refer to grading criteria below.
Focus/Discussion WorksheetsWeekly focus/discussion question worksheets will be a required activity for all students. These short written assignments are based on required readings/discussion and are designed to focus your attention to both general and specific issues of the reading assignments in preparation for each lecture. You will complete each assignment prior to class and make 2 hard-copies (one handed in to me) for each class meeting.
Grade distribution:4 exams @ 20% each
1 field project 15 %
Class Participation 5%
Grading Criteria:A=Excellent work. Uses critical thinking tools to arrive at a relatively deep understanding of the course content, i.e. does more than memorize facts such as artist’s name, title & date of the artwork (although these are also important). An A effort is one which goes beyond my expectations and shows evidence of personal commitment, enthusiasm, and passion.
B= Very Good. Memorizes facts and has a fairly solid intellectual grasp of the course content but is not actually always critically engaged. However, generally knows WHAT happened but not necessarily WHY it happened, i.e. is not actually always critically engaged. Accurately completing the assignment and doing everything I want earns a B.
C= Good, honest effort has been made but needs improvement. Knows some facts and memorizes some of WHAT is important but understands few of the WHYs, i.e. is seldom critically engaged.
D= Not so good. Very little effort, knowledge demonstrated.
F= Bad. No effort demonstrated. Misses class and assignments.
CANVAS COURSE TOOLS, COMMUNICATION & TECH SUPPORTCanvas is an essential component of this course. Students are responsible for learning to navigate/utilize the various learning tools that have been provided on Canvas . Canvas contains a copy of the syllabus, video links, and lecture slides from each lecture so that you can revisit the core content/context of each lecture. Canvas also contains primary images files as Word documents that provide an abbreviated record of the objects we see in lecture. I will use the Canvas site to send “Announcements” to the entire class on a daily basis as needed. Student are responsible for checking “Announcements” and email messages daily to remain informed about changes or updates regarding lectures, exams and due dates. Technology Support: UWM at Waukesha – Contact Mary Jo Crisci in the library or call 262-521-5473. Additional help is available from UWM Get Tech Help.
NOTE-TAKING AND PARTICIPATIONYou will be responsible for taking notes on each class lecture/discussion. The primary purpose of your notebooks is to take careful notes on class lectures/discussions and your daily reading assignments. Additionally, your notebooks will provide an excellent study guide for your examinations. The consistency and quality of your notebooks will reflect greatly in the level at which you perform in this class. My lessons are a combination of lecture and discussion, and the success of each class period relies heavily on your active participation. Therefore, it is imperative that you come to each class period having completed your assigned readings and prepared to look, listen and speak.
STUDENT SERVICESUW-Waukesha at Milwaukee Solutions Center offers a variety of services for students who wish to enhance their education. If you feel that you need help with note taking, exam preparation, writing essays, and general organization, come and talk to me so that we can determine an appropriate course of action to assist you. The Solution Center is open Monday thru Friday 8:00-4:30. They can be reached at: 262-521-5040. The following link provides access to campus wide services. https://uwm.edu/secu/wp-content/uploads/sites/122/2016/12/Syllabus-Links.pdfATTENDANCE, TARDINESS & CLASSROOM ETIQUETTEAttendance is mandatory. Regular attendance is necessary for the successful completion of the course. Excused absences require a phone call or email prior to class and a written excuse from a physician/health care provider or documentation of another unforeseen event. Students must be in their seats when class begins to be considered present. Students, who are late, leave early or are observed texting or sleeping will be marked absent. You are expected to be attentive and focused during our class period. Two or more unexcused absences or tardiness will result in the reduction of your final grade by one whole letter. Since some of the material covered in class cannot be found in your reading as it involves a synthesis and analysis from a variety of information sources it is imperative that you be in class for each meeting. Disruptions of any kind will not be tolerated. Cell/Smart phones, i-Pods, and any other kind of electronic devices must be turned off before entering the classroom and OUT of SITE. Any disruption during classroom time will considered a matter of academic misconduct. Any assigned work submitted late will be downgraded by one whole letter grade with no exceptions. Students should expect to spend 3 hours per week outside the classroom in preparation for lectures and exams Class meets on Wednesday from 1:00-3:45 in Southview 115.
Make-up exams: If you are going to miss an exam, you are required to inform the instructor at least 24 hours in advance of the scheduled exam. If you fail to provide prior notice of an absence during an exam, then make-ups are at the instructor’s discretion. Exams/quizzes/assignments completed late will have a minimum of one letter grade deducted. I will make exceptions to this rule, if you talk to me in advance or have appropriate documentation. It is best to inform me of your absence in writing through email.
ACADEMIC MISCONDUCTAll suspected incidents of academic misconduct shall be handled using UW System rules, Chapter 14. “Academic misconduct” includes, but is not limited to the following examples: “cheating on an examination, collaborating with others in work to be presented, contrary to the stated rules of the course; submitting a paper or assignment as one’s own work, when a part or all of the paper assignment is the work of another; tampering with the laboratory experiment or computer program of another student. (UWS 14.03) UWS 14 is available to all students in the library.
Art/AIS 260: Course Schedule
Unit 1
[Week One] 9-4: Course Introduction & Syllabus
Required Reading:
No assigned reading
Activity:
Video: American before Columbus
Discussion Focus:
Video discussion-refer to week 1 handout
Primary Images Focus:
Beringia Columbus & Isabella Columbus 1492 Columbus with “possessions”
Vocabulary Focus:
Beringia
Age of exploration
Doctrine of Discovery
Isabella & Columbus
Columbian Exchange
Bul intra caetera, 1493
Hunter & gatherer
Agriculture
Import/export
Hernando Desoto
[Week Two] 9-11: Introduction to Indigenous Arts of North America
Required Reading:
Berlo & Phillips, Chapter 1, pp. 1-35
Society of American Archaeology, “What is Archaeology” (Canvas # 1)
Activity:
Week 2 focus questions & in-class discussion (Canvas)
Video: Primitive Mind
Primary Images Focus:
Jesse Fewkes World’s Columbian Expo Fashion Industry Horace Poolaw Kwakiutl Eagle Mask
Vocabulary Focus:
Beringia
pre-contact/contact
indigenous
archaeology
Eurocentric
Ethnology
World’s Columbian Exposition
Buffalo Bill’s Wild West Show
marketing “Indians”
sacred & ceremonial
Totem
Cosmology
Shamanism
Saiciye
[Week Three] 9-18: Eastern Native American: Archaic & Woodland Periods
Required Readings:
Berlo & Phillips, Chapter 3, pp. 71-79
Thomas, “Poverty Point,” pp. 94-105 (Canvas # 2)
Thomas, “Serpent Mound,” pp. 106-113 (Canvas # 3)
Activity:
Create an in-class timeline: Paleo-Indian to Mississippian
Week 3 focus questions (Canvas)
Video: Poverty Point Earth Works Mounds
Primary Images Focus:
Poverty Point Human Effigy Pipe Mica Hand Serpent Mound
Vocabulary Focus:
Pre-Columbian
Clovis
Paleo-Indian: 12,000-8,000 b.c.
Archaic period: 8,000-1,000 b.c.
Woodland period: 1,000-800 a.d.
Poverty Point, 1730-1350 b.c.
Sam Lockett & Clarence Moore
James Ford
clay balls
effigies
plummets
mound builders
Adena culture
Hopewell culture
Trade networks
[Week Four] 9-25: East, Northeast, Great Lakes: Mississippian Period to Contact
Required Readings:
Berlo & Phillips, pp. 79-86; 94-105
Thomas, “Cahokia,” pp. 152-62 (Canvas # 4)
Goldstein & Freeman, “Aztalan State Park,” pp. 4-14 (Canvas # 5)
Kansas Historical Society, “Traditions: Native American Bead Work,” (Canvas # 6)
Activity:
Week 4 focus questions (Canvas)
Video: Living St. Louis Cahokia Archaeologists
Primary Images Focus :
Cahokia Aztalan Quill work bandolier bag bead work
Vocabulary Focus:
Mississippian
Mississippian world view
hunters, gatherers, agriculture
atlatl
effigy mound
stockade
Woodhenge
spatial & social hierarchy
plaza
quill work
trade networks
bead work & floral designs
bandolier bag
moccasins
Unit 1 Exam Prep: refer to Unit 1 “Toolbox”
[Week Five] 10-2: Unit 1 Exam & Activity: Video (The Primal Mind) & discussion
Unit 2
[Week Six] 10-9: Southwest Native American: Architecture
Required Reading:
Berlo & Phillips, pp. 37-43
Houk, “Cliff Palace, Mesa Verde,” pp. 1-16 (Canvas # 1)
Brockway, “Chaco Canyon: Pueblo Bonito,” (Canvas # 2)
Activity:
Week 6 focus questions (Canvas)
Video: More than a Word: Native American-Based Sports Mascots
Primary Images Focus:
Pit House Cliff Palace, Mesa Verde Pueblo Bonito, Chaco Canyon
Vocabulary Focus:
Four Corners
Hohokam
Mogollon
Pueblo
Pit house
Anasazi
Richard Weatherall 1888
Spanish contact
cliff dwellings
kiva
sipapu
materials & methods
Chaco Canyon roads
NAGRA
Jesse Fewkes
North Road
[Week Seven] 10 16: Southwest Native American: Hohokam, Anasazi, Mogollon, Mimbres, Hopi Pottery
Required Reading:
Berlo & Phillips, pp. 43-47; 55-60
Zabriskie, “Mimbres Pottery,” (Canvas # 3)
Activity:
Week 7 focus questions (Canvas)
Videos: Maria Martinez & Nampeyo
Primary Images Focus:
Anasazi Mimbres Maria Martinez Nampeyo
Vocabulary Focus:
Mimbres River
Jesse Fewkes
geometric, conventionalized, realistic
human, animal, geometric
utilitarian, spiritual
Mimbres pottery
kill hole
coil technique
Hopi Tewa
slip
arts & crafts
Maria Martinez
Nampeyo
Fred Harvey
Hopi House
Pueblo Revolt
[Week Eight] 10-23: Southwest Native American: Hopi & Navajo
Required Reading:
Berlo & Phillips, pp. 47-55; 60-69
Jakobsen, “A Full History of Navajo Blankets and Rugs,” (Canvas # 4)
Bahti, “A Guide to Navajo Sand Painting,” pp. 7-14; 22-27; 46-47 (Canvas # 5)
Activity:
Week 8 focus questions (Canvas)
Video: Mid-19th Century Navajo Ute First Phase Blanket (Antiques Roadshow-PBS)
Primary Images Focus:
Hopi Pueblo Hopi Kachina Dance Navajo Rug Navajo Sand painting
Vocabulary Focus:
Navajo & Hopi
adobe
Kachina (Katsina)
Celestial ceremonies
Shepherdess
Spider man & Spider woman
Spanish churro sheep
“Navajo problem”
Pueblo Revolt
Serape, chief, saddle blankets
Hozho & hochxo
Chief’s blanket-Classic period
Eye Dazzler
Storm Pattern
HoganYeiUnit 2 Exam Prep: refer to Unit 2 “Tool Box”
[Week Nine] 10-30: Unit 2 Exam
Activity: Video: Navajo Rug-“Monster Slayer,” History Detectives PBS.org (In-Class)
Unit 3
[Week Ten] 11-6: Native American: The Great Plains-Painting & Craft Art
Required Reading:
Berlo & Phillips, pp. 107-130
Robinson, “Plains Indian Painting: The History and Development of an American Art Form”, pp. 11-25. (Canvas # 1)
Activity:
Week 10 focus questions (Canvas)
Primary Images Focus:
Plains Petroglyph Crow War Shield Dennis Cusick Wo-Haw, ledger art Pipe Bag
Vocabulary Focus:
petroglyph & pictograph
shield painting
narrative
tobacco
tipi
feathered bonnets
Iroquois
counting coup
Seneca mission
Dennis Cusick
reservation era
Fort Marion, Fl
Ledger art
Kiowa
Kiowa Five
beads
[Week Eleven] 11-13: Great Plains-Western Perspectives
Required Reading:
Catlin, “Manners, Customs, and Conditions of North American Indians,” pp. 145-48; 164-66 (Canvas # 2)
Hilleary, “American Indian Museum Showcases Kiowa Photographer Horace Poolaw,” (Canvas # 3)
Curtis, “Quotes”, (Canvas # 4)
Activity:
Week 11 focus questions
In-class discussion-emic vs etic
Primary Images Focus:
G. Catlin K. Bodmer E. Curtis H. Poolaw
Vocabulary Focus:
emic & etic
stereotype
noble savage
romantic fantasy
buffalo hunting/hide
tipi
feathered war bonnet
Manifest destiny
Indian Removal Act, 1830
Transcontinental railroad
Trail of Tears
G. Catlin & K. Bodmer
E. Curtis & H. Poolaw
Dawes Act, 1887
Unit 3 Exam Prep: refer to Unit 3 “Tool Box” (Canvas)
Week Twelve/11-20: Unit 3 Exam & Activity: Show & Tell? Or video
11-27-Thanksgiving Recess (No Class)
Unit 4
[Week Thirteen] 12-4: Pacific Northwest: Haida & Kwakiutl, Tlingit
Required Reading:
Berlo & Phillips, pp. 173-202
Stewart, “The Background”, pp. 17-30 (Canvas # 1)
Reid, pp. 37-44; 56-65; 228-30 (Canvas # 2)
Activity: Week 13 focus questions
Video: Full Circle (Kanopy films)
Primary Images Focus:
Tlingit Pole Kwakiutl Potlatch Kwakiutl Mask Tlingit blanket Bill Reid
Vocabulary Focus:
Haida, Tlingit, Kwakiutl
Woodcarving
Shamanism
Crest art
Heraldry
Mask
Formline style
Totem poles (house, memorial, mortuary, welcome, ridicule)
Potlatch
Pictograph
Chilkat weaving
Bill Reid
Raven, thunderbird, eagle, killer whale, wolf
Indian Act of Canada, 1884
American Indian Religious Freedom Act, 1978
[Week Fourteen] 12-11: Contemporary Art, Artists, & Issues
Required Reading:
Berlo & Phillips, pp. 209-237
Quick-to-See Smith, (Canvas # 3)
Heap of Birds, (Canvas # 4)
Walkingstick, (Canvas # 5)
Activity:
Week 14 focus questions & Hachivi Edgar Heap of Birds-creating word art
Discussion-UW-Stout decision to censor paintings….
Primary Images Focus:
Quick-to-See Smith Walkingstick Heap of Birds Truman Lowe Cal Peters
Vocabulary Focus:
Pictograph
Salish
Isolation, alienation,
Assimilation
Stereotype
Discrimination
Cherokee
Trail of tears
Chief Joseph
“when religion is lost, culture is lost”
Cheyenne
Marketing race
Fantasy & romance
Mascots as entertainment
Misrepresentation
Language vs image
Brand names & logos
Ho Chunk
Unit 4 Exam Prep: Go to Unit 4 “Tool Box” (Canvas)
[Week Fifteen] 12-16 (12:30) Unit 4 Exam
Art/AIS 260 Bibliography
Abbott, Lawrence. ed., I Stand in the Center of the Good. Lincoln: University of Nebraska Press, 1994. 704.0397 I15
Aller, Susan Bivin. Sitting Bull. Minneapolis: Lerner Publications Company, 2004.
Anthes, Bill. Edgar Heap of Birds. Durham: Duke University Press, 2015. N6537 H383 A58
“Artist Truman Lowe Talks About His Work in Vantage Point.” http://www.smithsonianmag.com/smithsonian-institution/artist-truman-lowe-talks-about-his-work-in-vantage-point-1193308/
Aztalan State Park. Department of Natural Resources. 1995.
Babcock, Barbara A, and Guy and Doris Monthan. The Pueblo Storyteller. Tucson: The University of Arizona Press, 1986. 738.37 P977B
Bahti, Mark. Navajo Sand Paintings. Tucson: Rio Nuevo Publishers, 2009. 759.189 B151N
Berlo, Janet C., and Ruth B. Phillips. Native North American Art. New York: Oxford University Press, 1998.
Berlo, Janet C., Plains Indian Drawings-1865-1935: Pages from a Visual History. New York: Harry N. Abrams, Inc., Publishers, 1996. 741.9 P698
Bird, Elizabeth. ed., Dressing in Feathers: The Construction of the Indian in American Popular Culture. Boulder: Westview Press, 1996. 305.897 D773
Birmingham, Robert A and Lynne G. Goldstein. Aztalan: Mysteries of an Ancient Indian Town. Madison: Wisconsin Historical Society Press, 2005. 977.585 B619
Blinman, Eric. “Anasazi Pottery: Evolution of a Technique.” Expedition 35 1993 14-22.
Brockway, A. “Chaco Canyon: Pueblo Bonito.” A Brockway’s Ancient Southwest www.abrock.com.
Brody, J.J., Catherine Scott, and Steven LeBlanc. Mimbres Pottery: Ancient Art of the American Southwest. New York: Hudson Hills Press, 1983. 738.309703 B864
Catlin, George. Letters and Notes on the Manners, Customs, and Conditions of North American Indians. New York: Dover Publications, Inc., 1973. 970.1 C36L V1 & V2.
Chana, Jas. “Uni. of Wisconsin-Stout Moves to Censor Paintings of First Nations People.” National Coalition Against Censorship. August, 2016. http://ncac.org/letters/university-of-wisconsin-stout-moves-to-censor-paintings-depicting-first-nations-people
Clifton, James A. The Potawatomi. New York: Chelsea House Publishers, 1987. 979.3 C639
Colton, Harold S. Hopi Kachina Dolls with a Key to their Identification. Albuquerque: University of New Mexico Press, 1970.
Dalrymple, Larry. Indian Basketmakers of the Southwest. Santa Fe: Museum of New Mexico Press, 2000. 746.412 D151
Edgar Heap of Birds, “Heads Above Grass; Provocative Native American Public Art and Studio Practice” https://www.youtube.com/watch?v=5cFjvdcgmXk
Fleming, Paula Richardson, and Judith Lusky. The North American Indians in Early Photography. London: Calmann and King Ltd., 1988. 970.1 F597
Gilman, Patricia, and Harry J. Shafer. Mimbres Families and Households. University of Oklahoma: Archaeology Southwest, Fall 2003.
Gulbrandsen, Don. Edward Curtis: Visions of the First Americans. London: Chartwell Books, Inc., 2010.
Hansen, Emma I. Memory and Vision: Arts, Cultures, and Lives of Plains Indian People. Wyoming: Buffalo Bill Historical Center, 2007. 970.48. H248
Harris, Moira F. Between Two Cultures: Kiowa Art From Fort Marion. Pogo Press, 1989. 704.0397 H315
Hegmon, Michelle. “Mimbres Pottery: Meaning and Content.” Archaeology Southwest, 17 2003 7.
Hegmon, Michelle, and Margaret Nelson. “The Archaeology and Meaning of Mimbres.” Archaeology Southwest 17 2003 1-2.
Holiday, John, and Robert S. McPherson. A Navajo Legacy: The Life and Teachings of John Holiday. Norman: University of Oklahoma Press, 2001. Central 970.3 H732
Holstein, Philip, and Donnelley Erdman. Enduring Visions: 1000 Years of Southwestern Indian Art. New York: The Publishing Center for Cultural Resources, 1979. 704.0397 E56
Houk, Rose. Cliff Palace. Mesa Verde Museum Association. mesaverde.org.
Howard, Kathleen L, and Diana Pardue. Inventing the Southwest: The Fred Harvey Company and Native American Art. Flagstaff: Northland Publishing Co., 1996.
Hutchinson, Elizabeth. The Indian Craze: Primitivism, Modernism, and Transculturation in American Art 1890-1915. Durham: Duke University Press, 2009.
Johnson, Michael G. and Bill Yenne. Arts & Crafts of the Native American Tribes. Buffalo: Firefly Books Inc., 2011.
Kansas Historical Society. “Traditions: Native American Beadwork.” 1993.
Martinez, David. The Legends & Lands of Native North Americans. New York: Sterling Publishing Co., 2003. 398.208997M388
Mauer, Evan. Visions of the People: A Pictorial History of Plains Indian Life. Minneapolis: The Minneapolis Institute of Arts, 1992. 970.3 M453
Montgomery, David R. Craft and Skills of the Native Americans. New York: Skyhorse Publishing, 2009. 745.5 M787
National Museum of the American Indian. “Indian Museum Showcases Kiowa Photography Horace Poolaw.” 2013.
Ortel, Jo. Woodland Reflections: The Art of Truman Lowe. Madison: The University of Wisconsin Press, 2003. 730.92 L913
Ortel, Jo. “Truman Lowe Ho-Chunk,” Native Peoples Magazine: Art and Lifeways. February/March 2000, Vol. 13 Issue 2, 67-70.
Ourada, Patricia K. The Menominee. New York: Chelsea House Publishers, 1990. X970.3 093M
Penman, Sarah. Honor the Grandmothers: Dakota and Lakota Women Tell Their Stories. Ed. Minnesota: Minnesota Historical Society Press, 2000.
Penney, David W. North American Indian Art. London: Thames & Hudson, 2004.
Plog, Stephen. Ancient Peoples of the American Southwest. London: Thames and Hudson, 1997. 970.49 P729
Quick-to-See Smith, Juane. Our Land Ourselves: American Indian Contemporary Artists. Albany: University Art Gallery-SUNY, 1990.
Reichard, G. Navajo Medicine Man Sandpaintings. New York: Dover Publisher, 1977.
Reid, William. Solitary Raven: The Selected Readings of Bill Reid. Seattle: University of Washington Press, c2000. 704.03972 R359
Robinson, and Jane Ewers. ed., Plains Indian Art. Norman: University of Oklahoma Press, 2011. 704.0397 E948
Schaffer, Lynda. Native Americans Before 1492: The Mound building Centers of the Eastern Woodlands. New York: ME Sharp, Inc., 1992. 970.4 S525
Smithyman, Kathryn; Bobbie Kalman. Nations of the Western Great Lakes. New York: Crabtree Publishing Company, 2003. 970.3 S6645
Stewart, Hilary. Looking at Totem Poles. Seattle: University of Washington Press, 1993. 730.8997 S849
Tedlock, Barbara. The Beautiful and the Dangerous: Encounters with the Zuni Indians. New York: Penguin Group, 1992.
Thomas, David Hurst. Exploring Native North America. New York: Oxford University Press, 2000. 970.1 T455E
Townsend, Richard F. Hero, Hawk, and Open Hand. Ed. Chicago: The Art Institute of Chicago, 2004. Central 704.0397 H558
Treuer, Anton. Atlas of Indian Nations. Washington D.C.: National Geographic Society, 2013. 970.1 T812AT
“Truman Lowe: Contemporary Native American Artist” https://wimedialab.pbslearningmedia.org/resource/natam.arts.visarts.truman/native-american-culture-truman-lowe-contemporary-native-american-artist/#.WXpIIcaov3h
Welch, Catherine A. Geronimo. Minneapolis: Lerner Publications Company, 2004.
Zabriskie, Sarah, “Mimbres Pottery.” Smithsonian National Museum of Natural History.
https://anthropology.si.edu/cm/mimbres.htm
Videography
Ancient Pueblo People: The Anasazi. Produced and Directed by Ron Meyer. 30 min., Ambrose Video Publishing. 2007. DVD.America Before Columbus. Produced and Directed by Victor Garber. 90 min., National Geographic Channel, 2010. DVD.
“Appraisal: Mid-19th Century Navajo Ute First Phase Blanket.” PBS Antiques Roadshow. https://www.pbs.org/video/antiques-roadshow-mid-19th-century-navajo-ute-first-phase-blanket/
“Maria Martinez: Indian Pottery of San Ildefonso,” (Documentary, 1972, VHS) https://www.youtube.com/watch?v=SkUGm87DE0k
“Nampeyo (Hopi-Tewa), polychrome jar.” https://www.khanacademy.org/humanities/art-americas/native-north-america/native-american-southwest/v/nampeyo-jar
Primal Mind. Produced and Directed by Primal Mind Foundation. 58 min., Unipex Entertainment, 1996. DVD.
Racial Stereotypes in the Media. Produced and Directed by Films for the Humanities and Sciences. 42 min., 2008. Digital Media.
Motion Pictures excerpts:
A Man Called Horse. Directed by Elliot Silverstein, 144 min., Cinema Center Films, 1970.
Dances with Wolves. Directed by Kevin Costner. 180 min., Orion Pictures, 1990.
Last of the Dogmen. Directed by Tab Murphy, 188 min., Savoy Pictures Pathé, 1995