According to the Navajos, the holy people Spider Man and Spider Woman first brought the tools for weaving to the People. Over the centuries Navajo artists have used those tools to weave a web of beauty—a rich tradition that continues to the present day. In testimony to this living art form, this book presents 74 dazzling color plates of Navajo rugs and wall hangings woven between 1971 and 1996. Drawn from a private southwestern collection, they represent the work of sixty of the finest native weavers in the American Southwest. The creations depicted here reflect a number of styles—revival, sandpainting, pictorial, miniature, sampler—and a number of major regional variations, from Ganado to Teec Nos Pos. Textile authority Ann Hedlund provides an introductory narrative about the development of Navajo textile collecting—including the shift of attention from artifacts to art—and a brief review of the history of Navajo weaving. She then comments on the shaping of the particular collection represented in the book, offering a rich source of knowledge and insight for other collectors. Explaining themes in Navajo weaving over the quarter-century represented by the Santa Fe Collection, Hedlund focuses on the development of modern rug designs and the influence on weavers of family, community, artistic identity, and the marketplace. She also introduces each section of plates with a description of the representative style, its significance, and the weavers who perpetuate and deviate from it. In addition to the textile plates, Hedlund’s color photographs show the families, landscapes, livestock, hogans, and looms that surround today’s Navajo weavers. Navajo Weaving in the Late Twentieth Century explores many of the important connections that exist today among weavers through their families and neighbors, and the significant role that collectors play in perpetuating this dynamic art form. For all who appreciate American Indian art and culture, this book provides invaluable guidance to the fine points of collecting and a rich visual feast.
From the mid-17th century to the present day, herding sheep, carding wool, spinning yarn, dyeing with native plants, and weaving on iconic upright looms have all been steps in the intricate process of Navajo blanket and rug making in the American Southwest. Beginning in the late 1800s, amateur and professional photographers documented the Diné (Navajo) weavers and their artwork, and the images they captured tell the stories of the artists, their homes, and the materials, techniques, and designs they used. Many postcards illustrate popular interest surrounding weaving as an indigenous art form, even as economic, social, and political realities influenced the craft. These historical pictures illuminate perceived traditional weaving practices. The authors' accompanying narratives deepen the perspective and relate imagery to modern life.
“Sitting here beneath this old massive oak tree, overlooking a sunlit pond, with a myriad of leaves falling around me, I feel at peace.” (From the author) Under the Oak Trees reveals the author’s love of God witnessed in the simplicity and beauty of nature. First on her uncle’s farm and later at her own home, she found under the oak trees her special place to write. Her poetry and other writings pay tribute to the simple pleasures of life. Also included in the book are numerous eulogies written for family members and friends. The author believes that a person passing from this life should be remembered for their special and unique qualities. In compiling this collection, the author hopes to inspire others to become more aware of God’s love for us through the beauty of nature and the simple things of life. For his loving support, the author includes a tribute to her husband, Rick, who passed in June 2019. Photos and letters reveal the love of a wife, family, and community for a remarkable man, a man with a servant’s heart.
The rugs used in Craftsman interiors are, arguably, the most under-studied of all the decorative arts of the Arts and Crafts movement. These rugs were at once useful and beautiful, and they added subdued color, rugged texture, and understated pattern to the rooms they graced, playing a fundamental role in the visual harmony of the Craftsman domestic interior. Though Stickley was primarily a furniture maker and a publisher and did not manufacture rugs, he did choose them, and his choices completed the elegant simplicity of the Craftsman house. He often considered the art of rug making in The Craftsman, and he also used the magazine to advertise the affordable, well-designed rugs that he sold in his retail stores and mail-order catalogs for at least thirteen years." "Arts and Crafts Rugs for Craftsman Interiors considers both the rugs that The Craftsman recommended and designs by artists who influenced the work and philosophy of Stickley. Among the rugs discussed are works by British Arts and Crafts luminaries William Morris, Gavin Morton, C. F. A. Voysey, and Evelyn Gleeson; druggets imported from India; Navajo blankets and rugs; and rare Crex and Abnakee examples. Presenting an engaging study of an overlooked aspect of the Arts and Crafts movement, this essential publication includes more than 125 color and black-and-white illustrations, many of them featuring rugs drawn primarily from the collection of Crab Tree Farm." --Book Jacket.
Acclaimed writers, family, friends, and more pay homage to the celebrated Southern author of The Prince of Tides and The Great Santini. New York Times–bestselling writer Pat Conroy (1945–2016) inspired a worldwide legion of devoted fans, but none are more loyal to him and more committed to sustaining his literary legacy than the many writers he nurtured over the course of his fifty-year career. In sharing their stories of Conroy, his fellow writers honor his memory and advance our shared understanding of his lasting impact on literary life in and well beyond the American South. Conroy’s fellowship drew from all walks of life. His relationships were complicated, and people and places he thought he’d left behind often circled back to him at crucial moments. The pantheon of contributors includes Rick Bragg, Kathleen Parker, Barbra Streisand, Janis Ian, Anthony Grooms, Mary Hood, Nikky Finney, Nathalie Dupree and Cynthia Graubart, Ron Rash, Sandra Brown, and Mary Alice Monroe; Conroy biographers Katherine Clark and Catherine Seltzer; his longtime friends; Pat’s students Sallie Ann Robinson and Valerie Sayers; members of the Conroy family; and many more. Each author in this collection shares a slightly different view of Conroy. Through their voices, a multifaceted portrait of him comes to life and sheds new light on who he was. Loosely following Conroy’s own chronology, the essays herewith wind through his river of a story, stopping at important ports of call. Cities he called home and longed to visit, along with each book he birthed, become characters that are as equally important as the people he touched along the way.
Preliminary Material -- Acknowledgements -- Introduction: Doubtful Diseases and Fantasy Surgery -- Surgery and the Nineteenth Century -- Dropped Organs -- Autointoxication -- Young Arbuthnot Lane -- Chronic Intestinal Stasis: Surgery for Constipation -- Metchnikoff -- Success and Opposition: 1903-13 -- Alimentary Toxaemia: The Great Debate -- Aftermath -- Follow-up -- Lane in Old Age -- Conclusions -- Selected Bibliography -- Index -- Appendix.
Featuring a selection of paintings created by Martin throughout her career, together with exceptional Navajo handwoven textiles from the 19th century, the exhibition will illuminate parallels between these exquisitely-crafted and transcendent bodies of work. Most of the woven works in the exhibition were created in the form of the ?chief-style? blankets by Navajo women working on indigenous vertical looms in their homes. Developed beginning in the 1750s, this bold-banded style worn around the shoulders by both men and women became a popular object of trade to high-level members of other tribes, military officers, and travelers throughout the American West, Southwest, and Northern Plains. By the mid-19th century, the Navajo chief blanket was one of the most valued garments in the world. The design spectrum of chief blankets includes four inter-figured phases, defined by their increasingly elaborate banding, coloration, and placement of foreground motifs. The chief blankets in this exhibition span the full range from first through fourth phases plus unusual variants. They and several classic serapes, dresses, and mantas (shawls) represent exceptionally rare examples of each type, rivaling museum and private collections worldwide.00Exhibition: Pace Gallery, Palo Alto, USA (28.09-28.10.2018) / Pace Gallery, New York, USA (14.11.-21.12.2018).
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