1 |
The Kishangarh school of painting, c.1680-1850Haidar, Navina Najat January 1995 (has links)
No description available.
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2 |
Art, artists and aesthetics in Bengal, c.1850-1920 : westernising trends and nationalist concerns in the making of a new 'Indian' artGuha-Thakurta, Tapati January 1988 (has links)
No description available.
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3 |
The Citrasutra of Visnudharmottarapurana : introduction, critical edition and commentaryDave, Parul January 1991 (has links)
No description available.
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4 |
Oklahoma Indian women and their art /Watson, Mary Jo, January 1993 (has links)
Thesis (Ph. D.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 446-465).
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5 |
Indian art/Aboriginal titleCrosby, Marcia Violet 11 1900 (has links)
In 1967, the Vancouver Art Gallery held an exhibition entitled Arts of the Raven:
Masterworks by the Northwest Coast Indian in celebration of Canada’s centennial. The
following thesis discusses the way in which the curators of the Arts of the Raven
exhibit constructed the Northwest Coast “Indian-Master” artist as a strategy that
figured into a larger, shifting cultural field. The intention of the exhibit organizers
was to contribute to the shift from ethnology to art. While this shift can be dated to
the turn of the century, this thesis deals primarily with the period from 1958-1967, a
decade described by the preeminent First Nations’ political leader, George Manuel,
as the time of “the rediscovery of the Indian”.
How the formation of an Indian-master artist (and his masterworks) intervened
in art historical practice, and dovetailed with the meaning that the affix “Indian”
carried in the public sphere, is considered. In the 1960s, this meaning was fostered,
in part, through a reassessment of Canada’s history in preparation for the centennial.
This event drew attention to the historical relationship between Canada and
aboriginal peoples through public criticism of the government by public interest
groups, Indian organizations, and civil rights and anti-poverty movements.
The category of mastery, which functions as a sign of class, taste and prestige in
European art canons, “included” the Indian under the rubric of white male genius.
Yet the Indian as a sign of upward mobility was incommensurable with the Native
reality in Canada at the time. In other words, the exhibit produced an abstract
equality that eclipsed the concrete inequality most First Nations peoples were
actually experiencing. This thesis concludes by arguing that the Arts of the Raven
exhibit came to serve the important purpose of creating a space for the “unique
individual-Indian” from which collective political First Nations voices would speak.
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6 |
The trickster shift : a new paradigm in contemporary Canadian Native artRyan, Allan J. 11 1900 (has links)
Over the last fifteen years a select group of professionally
trained and politically astute Canadian artists of Native
ancestry has produced a compelling body of work that owes much
of its power to a wry and ironic sense of humour rooted firmly
in oral tradition. More than a critical/political strategy,
such humour reflects a widespread cultural and communal
sensibility embodied in the mythical Native American
Trickster. The present study explores the influence of this
comic spirit on the practice of several artists through the
presentation of a "Trickster discourse," that is, a body of
overlapping and interrelated verbal and visual narratives by
tricksters and about trickster practice.
Most of the research for this project took place between
January 1990 and November 1991 and involved extended
conversations with artists, elders, actors, writers,
linguists, curators and art historians in six Canadian
provinces. Over 80 hours of interviews were amassed along
with several hundred slides and photographs of artists' work.
From this body of material 140 images were selected for
analysis with well over 100 commentaries and reflections on
practice excerpted from the interviews. These verbal and
visual narratives have been gathered together under the broad
headings of self-identity, representation, political control
and global presence. In light of the highly eclectic and hybrid nature of these
narratives, an eclectic and hybrid conceptual framework has
been constructed to consider them. Accordingly, a
multiplicity of theoretical concepts has been braided together
and interwoven throughout the chapters to reflect the
complexity, density and interconnectedness of the material.
To convey the sense of raultilayered communication and
simultaneous conversation, quotation and footnote have been
used extensively as parallel and overlapping texts. In this
they constitute a form of hypertext or hypermedia. More
importantly, the text honours and participates in a non-linear
process of representation shared by many of the artists.
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7 |
Navaho art a methodological study in visual communication /Hatcher, Evelyn Payne. January 1900 (has links)
Thesis--University of Minnesota. / Includes bibliographical references.
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8 |
Speech symbols in the aboriginal art of the eastern United StatesThompson, Joe Gunnar, January 1900 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1969. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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9 |
Haida creative traditions : reconciling the present with the pastCrowther, Gillian Mary January 1992 (has links)
No description available.
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10 |
Indian art/Aboriginal titleCrosby, Marcia Violet 11 1900 (has links)
In 1967, the Vancouver Art Gallery held an exhibition entitled Arts of the Raven:
Masterworks by the Northwest Coast Indian in celebration of Canada’s centennial. The
following thesis discusses the way in which the curators of the Arts of the Raven
exhibit constructed the Northwest Coast “Indian-Master” artist as a strategy that
figured into a larger, shifting cultural field. The intention of the exhibit organizers
was to contribute to the shift from ethnology to art. While this shift can be dated to
the turn of the century, this thesis deals primarily with the period from 1958-1967, a
decade described by the preeminent First Nations’ political leader, George Manuel,
as the time of “the rediscovery of the Indian”.
How the formation of an Indian-master artist (and his masterworks) intervened
in art historical practice, and dovetailed with the meaning that the affix “Indian”
carried in the public sphere, is considered. In the 1960s, this meaning was fostered,
in part, through a reassessment of Canada’s history in preparation for the centennial.
This event drew attention to the historical relationship between Canada and
aboriginal peoples through public criticism of the government by public interest
groups, Indian organizations, and civil rights and anti-poverty movements.
The category of mastery, which functions as a sign of class, taste and prestige in
European art canons, “included” the Indian under the rubric of white male genius.
Yet the Indian as a sign of upward mobility was incommensurable with the Native
reality in Canada at the time. In other words, the exhibit produced an abstract
equality that eclipsed the concrete inequality most First Nations peoples were
actually experiencing. This thesis concludes by arguing that the Arts of the Raven
exhibit came to serve the important purpose of creating a space for the “unique
individual-Indian” from which collective political First Nations voices would speak. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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