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North American and Inuit Arts Max Carocci
44

Inuit and Native American art

May 04, 2023

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Page 1: Inuit and Native American art

North American and Inuit ArtsMax Carocci

Page 2: Inuit and Native American art

historical North American groups popularly known as ‘tribes’ are very diverse, and partially the result of historical changes

Page 3: Inuit and Native American art

American peoples’ links to their Asian antecedents can be partially detected in the cosmological and ideological substratum that they all share

Page 4: Inuit and Native American art

Ojibwa shaman’s drum 19th c.

•American peoples’ common cosmological principles

1-Animated universe

2-Permeability of cosmic planes

3-Human role in maintaining cosmic balance

4-Spatially ordered universe

5- Cyclical cosmic regeneration

Page 5: Inuit and Native American art

Cosmological and ideological principles are filtered through art

Left: Apache shieldRight: Crow shieldBoth 19th c. USA

Page 6: Inuit and Native American art

Understanding these basic

principles allows us to ‘see’ what

art is and what it does in Native

North America’s indigenous

cultures

Left: Dorset figurine Arctic CanadaBC 500-1500 ADRight: Greenland Inuit mask19th c.

Page 7: Inuit and Native American art

-Arctic-Northwest Coast-Southwest-Plains

Page 8: Inuit and Native American art

Northern peoples: from Palaeo-Eskimo to Inuit

Palaeo-Eskimo (3000-1000 BC)

West (Alaska and Canada): Norton, Old Bering Sea, Okvik, Birnik, Punuk, 1000 BC-1400 AD

East (Canada and Greenland): Thule 700 BC- modern times; Dorset 800 BC-1400

Old Bering Sea traditionstyle bannerstone

Page 9: Inuit and Native American art

Punuk culture(Bering Sea, Alaska) AD 600-1100

Page 10: Inuit and Native American art

Dorset BC 500-1500 D: early shamanic themes

Page 11: Inuit and Native American art

Norton phase -Alaska(1000 BC-800 AD)

funerary masks from the Ipiutakperiod(AD 1-800 )

Page 12: Inuit and Native American art

Transformation masksAlaska19th c.-early 20th c.

Page 13: Inuit and Native American art

Kodiak, Alaska wooden masks

Page 14: Inuit and Native American art

Aleutian ceremonial hats and hunting bent woodvisor 19th c.

Page 15: Inuit and Native American art
Page 16: Inuit and Native American art

Stimulated by tourism, historic Inuit art continued Thule culture’s concern with an ever changing reality with shamanic themes and transformational motifs

Composite shaman holding Figure, 1966 NuvaliaqQimirqpik

Karoo Ashevak1972Shamanand helper

Page 17: Inuit and Native American art

Inuit’s twentieth century innovations: graphic arts and print making

Simon Tookome 1972

Jesse Oonark1971

Page 18: Inuit and Native American art

Traditional themes Dances and beings

Page 19: Inuit and Native American art

North-America’s Northwest Coast: maritime adaptation and social complexity

Lachane 500 BC-320 AD (North coast)

Marpole phase 400 BC- 400 AD (South coast)

Page 20: Inuit and Native American art

Early NWC material culture anticipates historical developments of one of America’s most distinctive aesthetics

Tsimshian 19th c. ceremonial masks

Page 21: Inuit and Native American art

Shamanic art

Page 22: Inuit and Native American art

Mechanical and

transformation masks

Page 23: Inuit and Native American art
Page 24: Inuit and Native American art

Prestige art

Page 25: Inuit and Native American art

NWC art has intrigued art

historians and anthropologists

for its complexity, depth and extent of

cosmological meanings and

references

Page 26: Inuit and Native American art

Head

Body

Bottom

Forest Bear

Shorehuman

SeaWater creature

Page 27: Inuit and Native American art

NWC Monumentality

Page 28: Inuit and Native American art

Southwestern expressions

Page 29: Inuit and Native American art

Anasazi (ca. AD 900)mono/bi/and polychrome pottery

Page 30: Inuit and Native American art

Mimbres and Mogollon (ca. 1200 AD)anthropomorphic pottery

Page 31: Inuit and Native American art

Acoma

Zuni

Hopi

S. Ildefonso

Santa Clara

Laguna

Page 32: Inuit and Native American art

Kachina beings are represented as miniature sculptures

Page 33: Inuit and Native American art

When worn, the masks turn the wearer into a kachina

Page 34: Inuit and Native American art

Pueblo textiles’ complex symbolism is linked to ancestral cosmologies centred around the

importance of water and soil fertility

Page 35: Inuit and Native American art
Page 36: Inuit and Native American art

Puebloanpeoples had a lasting influence on newly arrived Navajo who adopted masked dances weaving and sand painting from them

Page 37: Inuit and Native American art

Navajo textiles are famous for the intricate geometric patterns

Page 38: Inuit and Native American art

Sand paintings

Page 39: Inuit and Native American art

Plains expressions 18th – 20th c.

Left: Assiniboine square drum 19thc. Centre: Oto Catlinite pipe 19th c.Top centre: Lakota beaded shirt 19th c.Top right: Kiowa peyote ceremonial objects 20th c.

Page 40: Inuit and Native American art

Nomadic plains peoples’ art is largely characterised by the use of beads, and hide painting that developed between the 18th

and 20th c.

Left: hide container, CheyenneRight: horse decoration Crow

Page 41: Inuit and Native American art

Women’s artsLeft: Lakota beaded dress 19th c.

Centre: Crow beaded boots 19th c.Bottom right: Kiowa beaded pouches

19th c.Top right: Crow beaded shirt 19th c.

Page 42: Inuit and Native American art

Left: Crow warrior regalia 19th c.Centre: Arapaho man’s moccasins 19th c. Top right: Plains Cree headstall 19th c. Top centre: Quapaw robe 18th c.

Page 43: Inuit and Native American art
Page 44: Inuit and Native American art

Oscar Howe Sioux 1954

James Auchiah, Kiowa 1939

Anonymous Plains 18thc.

George Thomas, Crow 1882