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"Hundreds of dazzlingly beautiful, sexually explicit ceramic sculptures made by indigenous Moche artists in Peru over a thousand years ago constitute a large and important corpus of non-western art about sex. Nevertheless, the Moche sex pots remain largely unknown except to regional specialists, subject to a dual marginalization. In Pre-Columbian studies, sexuality remains marginalized and understudied; in sexuality studies, non-western art is largely absent, and "classical" Greece and Rome appear as modernity's only Other. This study of the Moche sex pots fills these lacunae from a new materialist perspective. Breaking with the iconographic tradition that has long dominated Pre-Columbian studies, this book does not consider the sex pots as representations of human and nonhuman bodies, but as actual ceramic bodies that interact with fleshly bodies, now and in the ancient past"--

Mochica pottery --- Erotic pottery. --- Themes, motives. --- sexuality studies, Moche, Indigenous cultures, ceramics, sex pots, decolonization, queer theory, pre-columbian art, Pre-Columbian, Moche sex pots. --- Peru

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Dakota Sioux artist Mary Sully was the great-granddaughter of respected nineteenth-century portraitist Tomas Sully, who captured the personalities of America's first generation of celebrities (including the figure of Andrew Jackson immortalized on the twenty-dollar bill). Born on the Standing Rock reservation in South Dakota in 1896, she was largely self-taught. Steeped in the visual traditions of beadwork, quilling, and hide painting, she also engaged with the experiments in time, space, symbolism, and representation characteristic of early twentieth-century modernist art. And like her great-grandfather Sully was fascinated by celebrity: over two decades, she produced hundreds of colorful and dynamic abstract triptychs, a series of "personality prints" of American public figures like Amelia Earhart, Babe Ruth, and Gertrude Stein. Sully's position on the margins of the art world meant that her work was exhibited only a handful of times during her life. In Becoming Mary Sully, Philip J. Deloria reclaims that work from obscurity, exploring her stunning portfolio through the lenses of modernism, industrial design, Dakota women's aesthetics, mental health, ethnography and anthropology, primitivism, and the American Indian politics of the 1930s. Working in a complex territory oscillating between representation, symbolism, and abstraction, Sully evoked multiple and simultaneous perspectives of time and space. With an intimate yet sweeping style, Deloria recovers in Sully's work a move toward an anti-colonial aesthetic that claimed a critical role for Indigenous women in American Indian futures -- within and distinct from American modernity and modernism.

Modernism (Art) --- Indian art --- Art and society --- Art, Indian --- Indian art, Modern --- Indians --- Pre-Columbian art --- Precolumbian art --- Art --- Themes, motives. --- History --- Sully, Mary, --- Deloria, Susan, --- Deloria, Mary Susan, --- Criticism and interpretation.

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L'oeuvre d'Orlan a toujours dénoncé les pressions sociales exercées sur le corps, les archetypes figés, l'esthétiquement correct. Elle agit sur sa propre image par la chirurgie esthétique, mise en oeuvre en 9 "opérations chirurgicales-performances". Son travail, oscillant entre défiguration et refiguration, interroge l'identité, réinvestit l'iconographie chrétienne et baroque. Elle invente l' "Art Charnel", se distinguant nettement du body-art et de l'art corporel par la dimension de plaisir - et non de douleur rédemptrice - qui règne dans chacune de ses pièces. Son corps devient langue, sa chair verbe dans l'affirmation anti-formaliste de la liberté de l'artiste contre la société des mères et des marchands. Actuellement, Orlan commence un tour du monde des canons de beauté en vogue dans d'autres civilisations et époques par le biais du numérique, qui n'est qu' un outil supplémentaire à détourner, comme les autres, pour l'intégrer à sa démarche artistique. Orlan a toujours été une artiste trans-disciplinaire (peinture, sculpture, installations...), "multimédia" (vidéo, son, web...) et ce passage du réel au virtuel ne préserve rien : il questionne tout aussi crûment la réalité que les hématomes post-opératoires ou les reliquaires de sa propre chair. Le virtuel n'annihile pas le réel, il le réfléchit. Avec ses dernières Self-Hybridations, Orlan s"imprègne des civilisations pré-colombiennes et teste sur sa propre image les déformations du crâne chez les Mayas, les Aztèques et les Olmèques, le strabisme, les nez postiches portés par les dignitaires Mayas, etc. De nouveaux critères de beauté pour des corps mutants, hors des normes actuelles...

Orlan --- textes de Pierre Bourgeade, Orlan --- kunst --- twintigste eeuw --- Frankrijk --- body art --- precolumbiaanse culturen --- Maya's --- Azteken --- Olmeken --- kunst en technologie --- plastische chirurgie --- 7.071 ORLAN --- Face in art --- Indian art --- Performance art --- Self-perception in art --- Surgery in art --- Arts, Modern --- Happenings (Art) --- Performing arts --- Art, Indian --- Indian art, Modern --- Indians --- Pre-Columbian art --- Precolumbian art --- Art --- Influence --- Porte, Mireille Suzanne Francette

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In Faces in the Forest Michael Blackstock, a forester and an artist, takes us into the sacred forest, revealing the mysteries of carvings, paintings, and writings done on living trees by First Nations people. Blackstock details this rare art form through oral histories related by the Elders, blending spiritual and academic perspectives on Native art, cultural geography, and traditional ecological knowledge. Faces in the Forest begins with a review of First Nations cosmology and the historical references to tree art. Blackstock then takes us on a metaphorical journey along the remnants of trading and trapping trails to tree art sites in the Gitxsan, Nisga'a, Tlingit, Carrier, and Dene traditional territories, before concluding with reflections on the function and meaning of tree art, its role within First Nations cosmology, and the need for greater respect for all of our natural resources. This fascinating study of a haunting and little-known cultural phenomenon helps us to see our forests with new eyes.

Indian art --- Indians of North America --- American aborigines --- American Indians --- First Nations (North America) --- Indians of the United States --- Indigenous peoples --- Native Americans --- North American Indians --- Art, Indian --- Indian art, Modern --- Indians --- Pre-Columbian art --- Precolumbian art --- Art --- Religion. --- Culture --- Ethnology

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Ilustra con piezas prehispanicas ejemplos que sirven para desarrollar en el usuario conocimientos basicos acerca de como procede el arqueologo para obtener informacion util y necesaria de las vasijas arqueologicas. Datos que posteriormente valdran para comprender aspectos importantes de aquellas culturas que dieron forma a tan preciados objetos.

Condición social --- Condiciones culturales. --- Aborígenes --- Mitología. --- Literatura. --- Cerámica. --- Antropología cultural y social. --- Sociología cultural. --- Historia --- Artes. --- Religión. --- Filosofía. --- Indian art --- Indians of Mexico --- Religion, Primitive --- Atheism --- Irreligion --- Religions --- Theology --- Pre-Columbian art --- Precolumbian art --- Antiquities. --- Art --- Mexico --- Archaeological museums and collections --- Condicion social --- Aborigenes --- Mitologia. --- Ceramica. --- Antropologia cultural y social. --- Sociologia cultural. --- Religion. --- Filosofia.