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MUSEUM OF CONTEMPORARY NATIVE ARTS
Manifestations
New Native Art Criticism
Edited by Nancy Marie Mithlo. Foreword by Patsy Phillips. Preface by Will Wilson.
Featuring 60 biographical essays by 21 indigenous curators, historians, anthropologists and academics, over 100 full-color reproductions and four contextual essays, Manifestations: New Native Art Criticism is the most comprehensive survey of contemporary Native American art to date, and will stand as a landmark publication for years to come. It includes an overview of the last 20 years of Native American art scholarship; addresses the ways in which laws and policies imposed by Federal, tribal and state governments have molded tribal expression; argues for the exercise of indigenous knowledge systems in art criticism; and examines the way in which the memory and knowledge that is encoded within objects can offer a narrative bridge to historic indigenous arts. Ultimately, Manifestations presents more than the history, appraisal and understanding of contemporary indigenous art; it offers an alternative tradition that can broaden the perspectives of contemporary art as a whole.
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FORMAT: Hbk, 9.5 x 11.75 in. / 200 pgs / 144 color / 9 b&w. LIST PRICE: U.S. $49.95 LIST PRICE: CANADA $60 ISBN: 9780615489049 PUBLISHER: Museum of Contemporary Native Arts AVAILABLE: 1/31/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available
Published by Museum of Contemporary Native Arts. Edited by Nancy Marie Mithlo. Foreword by Patsy Phillips. Preface by Will Wilson.
Featuring 60 biographical essays by 21 indigenous curators, historians, anthropologists and academics, over 100 full-color reproductions and four contextual essays, Manifestations: New Native Art Criticism is the most comprehensive survey of contemporary Native American art to date, and will stand as a landmark publication for years to come. It includes an overview of the last 20 years of Native American art scholarship; addresses the ways in which laws and policies imposed by Federal, tribal and state governments have molded tribal expression; argues for the exercise of indigenous knowledge systems in art criticism; and examines the way in which the memory and knowledge that is encoded within objects can offer a narrative bridge to historic indigenous arts. Ultimately, Manifestations presents more than the history, appraisal and understanding of contemporary indigenous art; it offers an alternative tradition that can broaden the perspectives of contemporary art as a whole.
