NORTHERN ARIZONA UNIVERSITY
College of Arts and Sciences
Department of Humanities, Arts, and Religion
*** Semester 200*
ARH 361 / History of Native North American Art
[3 credit hours]
Day & Time:
***
Building & Room:
***
Instructor:
E-mail:
Office Hours:
Greta Jennings Murphy
Greta.Murphy@nau.edu
***
Office:
Office Phone:
Riles 118
523.3753
Prerequisite:
Junior status
COURSE DESCRIPTION
This course covers the history of Native American art from c.1500 until 1900. It also includes the
significant precontact cultures of the southwest and eastern woodlands (c.1000-1600).
Lectures and readings are thematically structured according to culture areas and emphasize
cultural contexts as a means of understanding a diverse and compelling body of work. We will
also address ideas and issues relating to museum collection and exhibition practices, tribal
identity, and Native American ways of knowledge.
Art historians borrow knowledge, theories, and methodologies from a number of disciplines in
an effort to understand a work of art from within its original cultural context as well as our
own. History, anthropology, and religious studies are but a few of the disciplines to which art
historians are indebted, and it is virtually impossible to isolate art historical inquiry from them.
Therefore, art history is an important vehicle for exploring a number of cultural issues that
students can use in other areas. In this regard, this course can help students prepare for life in
the diverse communities and workplaces that characterize the global twenty-first century,
COURSE STRUCTURE
(40%) Two exams, each worth 20% of your final grade. These test your ability to recognize
various works of art, but more importantly, they assess your knowledge of the basic
contextual information you must have in order to understand these works. The exams
are based on lectures, discussions, and readings (a fairly even balance of each).
(35%) One final exam, part of which will cover new material. The other part will cover material
directly taken from the previous tests.
(25%) There is one research and writing project.
(5 pts) There is one mandatory field trip to nearby archaeological sites.
REQUIRED TEXTBOOKS & READINGS
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J. C. H. King, First People, First Contacts: Native Peoples of North America. Cambridge:
Harvard University, 1999.
Peter Nabokov & Robert Easton, Native American Architecture. New York: Oxford
University, 1989.
Colin Calloway, First Peoples: A Documentary Survey of American Indian History. Boston:
Bedford, 1999.
electronic reserves
GENERAL REFERENCES ON RESERVE IN THE LIBRARY
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Peggy Beck, Anna Lee Walters, and Nia Francisco, The Sacred: Ways of Knowledge, Sources
of Life. Tsaile, AZ: Navajo Community College, 1992.
Arlene Hirschfelder and Paulette Molin, Encyclopedia of Native American Religions. New
York: Checkmark, 2001.
Encyclopedia of North American Indians: Native American History, Culture, and Life from
Paleo-Indian to the Present. Ed. Frederick Hoxie. New York: Houghton Mifflin, 1996.
EVALUATION OF STUDENT PERFORMANCE
A
B
C
D
F
Excellent: exceptional work (90-100)
Great: surpassed basic requirements (80-89)
Very good: met all basic requirements (70-79)
Did not meet basic requirements (60-69)
Little or no effort demonstrated (0-59)
ATTENDANCE POLICY
Regular class attendance is crucial and mandatory! Unlike some disciplines, art history involves
visual information that you will have little opportunity to experience elsewhere. Please
familiarize yourself with the following policy:
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You are expected to attend all classes, period. Two points will be deducted from your final
grade per unexcused absence. It is your responsibility to know the university’s attendance
policy i.e. what constitutes an excused absence and to obtain the appropriate written excuse.
I do not give make-up exams or accept late work without an excused absence or by prior
arrangement. You must provide advanced notice in writing if you know you will have an
excused absence on an exam day or deadline, and you must contact me within twenty-four
hours if you missed an exam or deadline.
You are expected to arrive on time and stay for the entire class. Please let me know
beforehand if you must leave early.
It is your responsibility to sign the attendance sheet. Please do not forget!
2
ARH 361 / History of Native North American Art
Course Outline and Assignments
(Subject to Revision)
KEY:
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Nabokov & Easton textbook
King textbook
Callaway textbook
course packet or electronic reserve
WEEK 1
INTRODUCTION
EASTERN WOODLANDS

Calloway, Introduction: Perspectives on the Past. First Peoples. pp. 1-9
Vastokas, Native Art as Art History: Meaning and Time from Unwritten Sources. Journal of Canadian
Studies vol. 21, no. 4 (1986-1987): 7-37.
 Hinsley, Digging for Identity: Reflections on the Cultural Background of Collecting. Repatriation Reader:
Who Owns American Indian Remains? pp. 37-55.
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Nabokov & Easton, Native American Architecture. chap. 2, pp. 92-103.
King, Ancient North America, First People, First Contacts. chap. 1, pp. 14-35.
Calloway, A Narrative of the De Soto Invasion. First Peoples. pp. 98-108.
Knight, Symbolism of Mississippian Mounds. Powhatan’s Mantle. pp. 279-291.
Lewis and Stout, The Town as Metaphor. Mississippian Towns and Sacred Spaces. pp. 227-241.
WEEK 2
SOUTHEAST
 Nabokov & Easton, Native American Architecture. chap. 2, pp. 104-121.
 King, First People, First Contacts, chap. 3, pp. 70-95.
 Hudson, Art, Music, and Recreation. The Southeastern Indians. pp. 376-426.
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Tedlock, The Clown’s Way. Teachings from the American Earth. pp. 105- 118.
Speck and Broom, Cherokee Dance and Drama. pp. 1-18.
Fogelson and Bell, The Cherokee Booger Dance Tradition. The Power of Symbols. pp. 48-69.
Mechling, Florida Seminoles and the Marketing of the Last Frontier. Dressing in Feathers. pp. 149-166.
WEEK 3
NORTHEAST
 Nabokov & Easton, Native American Architecture , chap. 1, pp. 52-91.
 Penney, Great Lakes Indian Art: An Introduction. Great Lakes Indian Art. pp. 9-20.
 Harrison, ‘He Heard Something Laugh’: Otter Imagery in the Midéwiwin. Great Lakes Indian Art. pp. 8292.
 Phillips, Dreams and Designs: Iconographic Problems in Great Lakes Twined Bags. Great Lakes Indian Art.
pp. 52-69.
3
WEEK 4
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NORTHEAST
King, First People, First Contacts, chap. 2, pp. 36-69.
Calloway, The Iroquois Great League of Peace. First Peoples. pp. 44-58
Calloway, The Jesuits in New France. First Peoples. pp. 109-122
Pohrt, Pipe Tomahawks from Michigan and the Great Lakes Area. Great Lakes Indian Art. pp. 94-103.
WEEK 5
SUBARCTIC
 EXAM 1
 Calloway, The Jesuits in New France. First Peoples. pp. 109-122.
 King, First People, First Contacts. chap., pp. 200-223.
 Van Stone, Northern Athapaskans: People of the Deer. Crossroads of Continents. pp. 64-68.
WEEK 6
ARCTIC
 Nabokov & Easton, Native American Architecture, chap. 5, pp. 188-208.
 King, First People, First Contacts. chap. 7, pp. 176-299.
 Fienup-Riordan, Eye of the Dance: Spiritual Life of the Bering Sea Eskimo. Crossroads of Continents. pp.
256-270.
WEEK 7
NORTHWEST COAST
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Nabokov & Easton, Native American Architecture, chap. 6, pp. 226-285.
King, First People, First Contacts, chap. 5, pp. 122-146.
King, First People, First Contacts. chap. 6, pp. 146-175.
Walens, The Weight of My Name is a Mountain of Blankets. Arts of Africa, Oceania, and the Americas.
pp. 184-195.
 De Laguna, Potlatch Ceremonialism on the Northwest Coast. Crossroads of Continents. pp. 271-280.
WEEK 8
CALIFORNIA AND GREAT BASIN
 PAPER TOPIC DUE
 Nabokov & Easton, Native American Architecture, chap. 7, pp. 286-321
 King, First People, First Contacts. chap. 4, pp. 96-121.
 Cohodas, Washo Innovators and Their Patrons. The Arts of the North American Indian. pp. 201-220.
WEEK 9
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PLATEAU
Nabokov & Easton, Native American Architecture, chap. pp. 174-187.
Ackerman, Plateau Women and Their Culture. A Song to the Creator. pp. 5-15.
Duncan, Beadwork and Cultural Identity on the Plateau. A Song to the Creator. pp. 106-117.
Dempsey, Religious Significance of Blackfoot Quillwork. Plains Anthropologist 8 (1963): 52-53.
Graff, “Walking in Strange Gardens”: Early Floral Design in the Columbia River Plateau. Painters, Patrons,
and Identity. pp. 263-280.
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WEEK 10
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PLAINS
 EXAM 2
Nabokov & Easton, Native American Architecture, chap. pp. 122-173.
King, First People, First Contacts, chap. 9, pp. 224-251.
King, First People, First Contacts, chap. 10, pp. 252-269
Linton, Ralph. The Origin of the Plains Earth Lodge. American Anthropologist 26 (1924): 247-257.
Calloway, Sixty Years of Kiowa History. First Peoples. pp. 299-305.
Calloway, The Fort Marion Artists. First People. pp. 403-409.
WEEK 11
PLAINS
 PRELIMINARY BIBLIOGRAPHY DUE
 Bol, Lakota Beaded Costumes of the Early Reservation Era. Arts of Africa, Oceania, and the Americas. pp.
363-370.
 Bol, Lakota Women’s Artistic Strategies in Support of the Social System. American Indian Culture and
Research Journal vol. 9, no. 1 (1985): 33-51.
 Dempsey, Religious Significance of Blackfoot Quillwork. Plains Anthropologist 8 (1963): 52-53.
 Calloway, A New Native American Religion: The Spread of Peyote. First Peoples, p. 370.
 Thomas, Crisis, and Creativity: The Ghost Dance Art Style. Wounded Knee: Lest We Forget. pp. 28-37.
 Irwin, The Visionary Arts. The Dream Seekers. pp. 211-236.
 Ewers, Murals in the Round. pp. 1-35.
WEEK 12
SOUTHWEST: PRECONTACT CULTURES
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FIELD TRIP SATURDAY
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Calloway, First Farmers of the Southwest. First Peoples. pp. 16-19.
Nabokov & Easton, Native American Architecture. chap. 9, pp. 352-365
Brody, The Anasazi: Ancient People of the American Southwest. pp. tba
Brody, Anasazi and Pueblo Painting. pp. tba
Brody, Mimbres Painted Pottery. pp. tba
Moulard, Form, Function and Interpretation of Mimbres Ceramic Hemispheric Vessels. Arts of Africa,
Oceania, and the Americas. pp. 259-270.
 Smith, Rock Art and the Shape of Landscape. Painters, Patrons, and Identity. pp. 211-240.
 Bradley, Rock Art and the Perception of Landscape. Cambridge Archaeological Review vol. 1, no. 1 (April
1, 1991): 7.
WEEK 13
SOUTHWEST: PUEBLO, PAI
 Nabokov & Easton, Native American Architecture, chap. pp. 366-409.
 Tedlock, The Beautiful and the Dangerous: Zuni Ritual and Cosmology as an Aesthetic System. Arts of
Africa, Oceania, and the Americas. pp. 48-63.
 Batkin, Pottery of the Pueblos of New Mexico. pp. tba
 Wade, Straddling the Cultural Fence: The Conflict for Ethnic Artists within Pueblo Societies. The Arts of the
North American Indian. pp. 243-254
 Calloway, Indians Confront the Spanish. First Peoples. pp. 72-81.
 Ladd, Edmund J. The Zuni Ceremonial System: The Kiva. Kachinas in the Pueblo World. pp. 17-21.
 Egan, The Hopi Cosmology or World-View. Kachinas in the Pueblo World. pp. 7-16.
 Trimble, The Pai. The People. pp. 195-223.
 Trimble, The Yavapai. The People. pp. 229-245.
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WEEK 14
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Nabokov & Easton, Native American Architecture, chap. 8, pp. 322-347.
King, First People, First Contacts. chap. 10, pp. 270-277
Calloway, A Navajo Emergence Story. First Peoples. pp. 28-43
Hedlund, Ann Lane. More of Survival Than an Art. Woven By the Grandmothers. pp. 47-67.
Zolbrod and Willink Listen to the Rugs. Weaving a World: Textiles and the Navajo Way of Seeing..
WEEK 15
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SOUTHWEST: NAVAJO
SOUTHWEST: APACHE, YAVAPAI,
 RESEARCH PAPER DUE
Ferg and Kessel, Clothing. Western Apache Material Culture. pp. 87-108.
Ferg and Kessel, Ritual. Western Apache Material Culture. pp. 109-152
Mauer, Symbol and Identification in North American Indian Clothing. The Fabrics of Culture. pp. tba
Calloway, The End of Apache Resistance. First Peoples. pp. 290-292.
WEEK 16 / 17
LAST WEEK / FINAL EXAM WEEK
 EXAM 3
6
PRELIMINARY BIBLIOGRAPHY
Ackerman, Lillian A. Plateau Women and Their Culture. A Song to the Creator: Traditional Arts of Native
American Women of the Plateau. Ed. Lillian A. Ackerman. Norman: University of Oklahoma, 1996.
Adair, John. Navajo and Pueblo Silversmiths. Norman: University of Oklahoma, 1989.
Anthropology on the Great Plains. Raymond W. Wood and Margo Liberty, Eds. Lincoln: University of
Nebraska, 1981.
Batkin, Jonathan. Pottery of the Pueblos of New Mexico. ***
Berlo, Janet C. and Phillips, Ruth B. Native North American Art. New York: Oxford University, 1998.
Bol, Marcia Clift. Lakota Beaded Costumes of the Early Reservation Era. Arts of Africa, Oceania, and the
Americas. Janet C. Berlo and Lee Anne Wilson, Eds. Englewood Cliffs, NJ: Prentice Hall, 1993.
-----. Lakota Women’s Artistic Strategies in Support of the Social System. American Indian Culture and
Research Journal vol. 9, no. 1 (1985):33-51.
Bradley, Richard. Rock Art and the Perception of Landscape. Cambridge Archaeological Review vol. 1, no. 1
(April 1, 1991): 7.
Brody, J. J. The Anasazi: Ancient People of the American Southwest. New York: Rizzoli, 1990.
-----. Anasazi and Pueblo Painting. Albuquerque: University of New Mexico, 1991.
-----. Mimbres Painted Pottery. Albuquerque: University of New Mexico, 1977.
-----. Between Traditions: Navajo Weaving Toward the End of the Nineteenth Century. ***
Calloway, Colin G. First Peoples: A Documentary Survey of American Indian History. Boston: Bedford,
1999.
Chiefly Feasts: The Enduring Kwakiutl Potlatch. Aldona Jonaitis, Ed. Seattle: University of Washington,
1991.
Cohodas, Marvin. Washo Innovators and Their Patrons. The Arts of the North American Indian: Native
Traditions in Evolution. Edwin L. Wade, Ed. New York: Hudson Hills, 1986.
Crossroads of Continents: Cultures of Siberia and Alaska. William W. Fitzhugh and Aron Crowell, Eds.
Washington DC: Smithsonian Institution, 1988.
De Laguna, Frederica. Potlatch Ceremonialism on the Northwest Coast. Crossroads of Continents: Cultures of
Siberia and Alaska. William W. Fitzhugh and Aron Crowell, Eds. Washington DC: Smithsonian
Institution, 1988.
Dempsey, Hugh. Religious Significance of Blackfoot Quillwork. Plains Anthropologist 8 (1963): 52-53.
Dillingham, Rick, with Melinda Elliott. Acoma & Laguna Pottery. Santa Fe: School of American Research,
1992.
7
Duncan, Kate C. Beadwork and Cultural Identity on the Plateau. A Song to the Creator. A Song to the
Creator: Traditional Arts of Native American Women of the Plateau. Ed. Lillian A. Ackerman.
Norman: University of Oklahoma, 1996.
-----. Northern Athapaskan Art: A Beadwork Tradition. Seattle: University of Washington, 1989.
Dutton, Bertha P. Sun Father’s Way: The Kiva Murals of Kuaua. ***
Egan, Fred. The Hopi Cosmology or World-View. Kachinas in the Pueblo World. Polly Schaafsma, Ed.
Albuquerque: University of New Mexico, 1994.
Ewers, John C. The Horse in Blackfoot Culture. Washington DC: Smithsonian Institution, 1969.
-----. Murals in the Round: Painted Tipis of the Kiowa and Kiowa-Apache. Washington, DC: Smithsonian
Institution, 1978.
-----. Plains Indian Sculpture. Washington, DC: Smithsonian Institution, 1986.
Exhibiting Cultures: The Poetics and Politics of Museum Display. Ivan Karp and Steven D. Lavine, Eds.
Washington DC: Smithsonian Institution, 1991.
Ferg, Alan and Kessel, William B. Clothing. Western Apache Material Culture. Alan Ferg, Ed. Tucson:
University of Arizona, 1988.
Fergusen, William M. and Rohn, Arthur H. Anasazi Ruins of the Southwest in Color. Albuquerque:
University of New Mexico, 1991.
Fienup-Riordan, Ann. Eye of the Dance: Spiritual Life of the Bering Sea Eskimo. Crossroads of Continents:
Cultures of Siberia and Alaska. William W. Fitzhugh and Aron Crowell, Eds. Washington DC:
Smithsonian Institution, 1988.
Fogelson, Raymond D. and Bell, Amelia R. The Cherokee Booger Dance Tradition. The Power of Symbols:
Masks and Masquerade in the Americas. N. Ross Crumrine and Marjorie Halpin, Eds. Vancouver:
University of British Columbia, 1983.
Graff, Steven LeRoy. “Walking in Strange Gardens”: Early Floral Design in the Columbia River Plateau.
Painters, Patrons, and Identity: Essays in Native American Art to Honor J. J. Brody. Albuquerque:
University of New Mexico, 2001.
Gifts of Pride and Love: Kiowa and Comanche Cradles. Barbara Hail, Ed. Bristol, Rhode Island: Brown
University and the Haffenreffer Museum of Anthropology, 2001.
Harless, Susan E. Native Arts of the Columbia Plateau: The Dorris Swayze Bounds Collection. Seattle:
University of Washington, 1998.
Harrison, Julia. “ He Heard Something Laugh”: Otter Imagery in the Midéwiwin. Great Lakes Indian Art.
David W. Penney, Ed. Detroit: Wayne State University and Detroit Institute of Arts, 1989.
Hedlund, Ann Lane. More of Survival Than an Art. Woven By the Grandmothers: Nineteenth-Century
Navajo Textiles from the National Museum of the American Indian. Eulalie H. Bonar, Ed.
Washington DC: Smithsonian Institution, 1996.
8
Hinsley, Curtis M. Digging for Identity: Reflections on the Cultural Background of Collecting. Repatriation
Reader: Who Owns American Indian Remains? Devon Mihesuah, Ed. Lincoln: University of
Nebraska, 2000.
The Hohokam: Ancient People of the Desert. David Grant Noble, Ed. Santa Fe: School of American
Research, 1999.
Horse Capture, George P. and Horse Capture, Joseph D. Beauty, Honor, and Tradition: the Legacy of
Plains Indian Shirts. Minneapolis: University of Minnesota, 2001.
Hudson, Charles. Art, Music, and Recreation. The Southeastern Indians. Knoxville: University of
Tennessee, 1976.
I Am Here: Two Thousand Years of Southwest Indian Arts and Culture. Santa Fe: Museum of New
Mexico, 1989.
Irwin, Lee. The Visionary Arts. The Dream Seekers: Native American Visionary Traditions of the Great
Plains. Norman: University of Oklahoma, 1994.
I Wear the Morning Star: An Exhibition of American Indian Ghost Dance Objects. Minneapolis:
Minneapolis Institute of Art, 1976.
Kent, Kate Peck. Navajo Weaving. Santa Fe: School of American Research, 1985.
King, J. C. H. First People, First Contacts: Native Peoples of North America. Cambridge: Harvard
University, 1999.
Knight, Vernon James. Symbolism of Mississippian Mounds. Powhatan’s Mantle: Indians in the Colonial
Southeast. Peter H. Wood, et. al., Eds. University of Nebraska, 1989.
Ladd, Edmund J. The Zuni Ceremonial System: The Kiva. Kachinas in the Pueblo World. Polly Schaafsma,
Ed. Albuquerque: University of New Mexico, 1994.
Legacy: Southwestern Indian Art at the School of American Research. Duane Anderson, Ed. Santa Fe:
School of American Research, 1999.
Lewis, R. Barry and Stout, Charles. The Town as Metaphor. Mississippian Towns and Sacred Spaces. R.
Barry Lewis and Charles Stout, Eds. Tuscaloosa: University of Alabama, 1998.
Linton, Ralph. The Origin of the Plains Earth Lodge. American Anthropologist 26 (1924): 247-257.
MacCannell, Dean. Empty Meeting Grounds: The Tourist Papers. New York: Routledge, 1992.
Mauer, Evan. Symbol and Identification in North American Indian Clothing. The Fabrics of Culture: The
Anthropology of Clothing and Adornment. Justine M. Cordwell and Ronald A. Schwarz, Eds. New
York: Mouton de Gruyter; 1979.
McNitt, Frank. Indian Traders. Norman: University of Oklahoma, 1963.
Mechling, Jay. Florida Seminoles and the Marketing of the Last Frontier. Dressing in Feathers: the
Construction of the Indian in American Popular Culture. S. Elizabeth Bird, Ed. Boulder: Westview,
1996.
9
Mississippian Towns and Sacred Spaces. R. Barry Lewis and Charles Stout, Eds. Tuscaloosa: University of
Alabama, 1998.
Mooney, James A. Calendar History of the Kiowa Indians. 1898. Washington, DC: Smithsonian
Institution, 1979.
Moulard, Barbara L. Form, Function and Interpretation of Mimbres Hemispheric Vessels. Arts of Africa,
Oceania, and the Americas. Janet C. Berlo and Lee Anne Wilson, Eds. Englewood Cliffs, NJ: Prentice
Hall, 1993.
Nabokov, Peter, and Easton, Robert. Native American Architecture. New York: Oxford University, 1989.
Penney, David. Ancient Art of the American Woodland Indians. New York: Abrams, 1985.
-----. Art of the American Indian Frontier: The Chandler-Pohrt Collection. Seattle: University of
Washington, 1992.
-----. Great Lakes Indian Art: An Introduction. Great Lakes Indian Art. David W. Penney, Ed. Detroit: Wayne
State University and Detroit Institute of Arts, 1989.
Peterson, Karen Daniels. Plains Indian Art from Fort Marion. Norman: University of Oklahoma, 1971.
Phillips, Ruth B. Dreams and Designs: Iconographic Problems in Great Lakes Twined Bags. Great Lakes Indian
Art. David W. Penney, Ed. Detroit: Wayne State University and Detroit Institute of Arts, 1989.
-----. Trading Identities: The Souvenir in Native North American Art of the Northeast, 1700-1900. Seattle:
University of Washington, 1998.
Pohrt, Richard. Pipe Tomahawks from Michigan and the Great Lakes Area. Great Lakes Indian Art. David W.
Penney, Ed. Detroit: Wayne State University and Detroit Institute of Arts, 1989.
Rapoport, Amos. The Pueblo and the Hogan: A Cross-Cultural Comparison of Two Responses to an Environment.
Arts of Africa, Oceania, and the Americas. Janet C. Berlo and Lee Anne Wilson, Eds. Englewood
Cliffs, NJ: Prentice Hall, 1993.
Ray, Dorothy Jean. Eskimo Masks: Art and Ceremony. Seattle: University of Washington, 1967.
Repatriation Reader: Who Owns American Indian Remains? Devon Mihesuah, Ed. Lincoln: University of
Nebraska, 2000.
Smith, H. Denise. Rock Art and the Shape of Landscape. Painters, Patrons, and Identity: Essays in Native
American Art to Honor J. J. Brody. Albuquerque: University of New Mexico, 2001.
Speck, Frank G. and Broom, Leonard, in collaboration with Will West Long. Cherokee Dance and Drama.
1951. Norman: University of Oklahoma, 1983.
Szabo, Joyce M. Howling Wolf and the History of Ledger Art. Albuquerque: University of New Mexico,
1994.
Tanner, Clara Lee. Prehistoric Southwestern Indian Craft Arts. Tucson: University of Arizona, 1982.
10
Tedlock, Barbara. The Beautiful and the Dangerous: Zuni Ritual and Cosmology as an Aesthetic System. Arts of
Africa, Oceania, and the Americas. Janet C. Berlo and Lee Anne Wilson, Eds. Englewood Cliffs, NJ:
Prentice Hall, 1993.
-----. The Clown’s Way. Teachings from the American Earth: Indian Religion and Philosophy. Dennis
Tedlock and Barbara Tedlock, Eds.New York: Liveright, 1992.
Thomas, Trudy. Crisis and Creativity: The Ghost Dance Art Style. Wounded Knee: Lest We Forget. Cody,
WO: Buffalo Bill Historical Center, 1990.
Trimble, Stephen. The People: Indians of the American Southwest. Santa Fe: School of American
Research, 1997.
Ute Indian Arts & Culture from Prehistory to the New Millennium. William Wroth, Ed. Colorado
Springs: Colorado Springs Fine art Center, 2001.
Van Stone, James A. Northern Athabaskans: People of the Deer. Crossroads of Continents: Cultures of Siberia
and Alaska. William W. Fitzhugh and Aron Crowell, Eds. Washington DC: Smithsonian Institution,
1988.
Vastokas, Joan M. Native Art as Art History: Meaning and Time from Unwritten Sources. Journal of Canadian
Studies vol. 21, no. 4 (1986-1987): 7-37.
Walens, Stanley. The Weight of My Name is a Mountain of Blankets. Arts of Africa, Oceania, and the
Americas. Janet C. Berlo and Lee Anne Wilson, Eds. Englewood Cliffs, NJ: Prentice Hall, 1993.
Walton, Ann T, Ewers, John C, and Royal B. Hassrick. After the Buffalo Were Gone. Walton, Ann T., Ed.
Seattle: University of Washington Press, 1986.
Whiteford, Andrew. Southwest Indian Baskets. Santa Fe: School of American Research, 1988.
Wilson, Lee Ann. Southern Cult Images of Composite Human and Animal Figures. American Indian Art
Magazine vol. 11, no. 1 (1985): 46-57.
Wright, Robin. A Time of Gathering: Native Heritage in Washington State. Seattle: University of
Washington, 1992.
Zolbrod, Paul G. and Willink, Roseann. Listen to the Rugs. Weaving a World: Textiles and the Navajo Way
of Seeing. Roseann S. Willink and Paul G. Zolbrod, Eds. Santa Fe: Museum of New Mexico, 2001.
11