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Pueblo Pottery Figurines: The Expression of Cultural Perceptions in Clay, by Patricia Fogelman Lange
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What do Pueblo Indians find aesthetically pleasing in their art? This book answers that question by examining pottery figurines, which emerged late in the nineteenth century. Their sudden appearance was a break with previous genres of Pueblo creative expression and a response to Anglo-Americans transforming life around them. From their inception, pottery figurines were infused with a definite political and social message. They often tapped into the dualism inherent in the Pueblo worldview in which human figures possessed animal heads, humour was juxtaposed with seriousness, and outsider and insider were simultaneously presented. Today the popular 'storyteller' figures generate income for their creators, but Lange shows another side to the appreciation of these objects and their antecedents. As the first-ever sustained aesthetic inquiry into a Pueblo sense of beauty, this path breaking contribution offers a new view of Pueblo artistic endeavours. Lange skilfully delineates how their creativity serves religion and traditional life but also describes the dissonance between those values and the process of making objects for the commercial market. In unravelling a cultural aesthetic from a study of pottery figurines, Lange interprets how these objects arise from specific historical or cultural events. But also discussed is how figurines contain clues about Pueblo artists who straddle two distinct worlds -- the traditional and the modern.
- Sales Rank: #6978855 in Books
- Published on: 2002-04
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: .73" h x 7.42" w x 10.40" l,
- Binding: Hardcover
- 162 pages
Review
"[Lange] thoughtfully investigates the beginning ofd the impact of commercial concerns on Pueblo arts and crafts during the 19th century."
About the Author
Dr. Patricia Fogelman Lange is a Research Associate at the Museum of New Mexico, Museum of Indian Arts and Culture Laboratory of Anthropology. As a cultural aesthetician, she is the author of a number of articles on Southwestern art and is active as a painter. She resides in Santa Fe.
Most helpful customer reviews
1 of 1 people found the following review helpful.
My Review from Southwest BookViews Fall 2002
By Kim Messier
Lange, a research associate at the Museum of Indian Arts and Culture, Laboratory of Anthropology, extended her 1993 dissertation to discuss western aesthetics and Pueblo pottery. Here she attempts to define a specific craft form made by New Mexico Pueblo potters as art through critical arguments of pottery figurines, especially those made at Cochiti at the turn of the 20th century. Her investigation of the form tries to put into historical context the circumstances that bred the advent of Pueblo figures.
But is it fair to assign a Western aesthetic to a Native culture historically unfamiliar with the term? After all, the Native American culture views "art" as a normal function of their daily lives. And does every design need to carry a hidden meaning? For instance, does a painted design along the legs of a figure signify a political statement, or does it just represent a pair of pants?
Lange postulates that politics and economics merged to form a new art form in a burgeoning cash economy. It’s intriguing for scholars and researchers to speculate about the socio-political climate in the Pueblos at the turn of last century, yet isn’t it also possible that figurative pottery was made solely as a means to earn a dollar and not as a political statement on the condition of Indian-White relations at the time?
Lange’s arguments are not so much from an anthropological point of view but from an art history one and extends from the period in which figurines were first produced to modern day. In the process, she discusses differing kinds of beauty, clowning as a ritual device among the Pueblos and the contemporary pottery figures of Roxanne Swintzell and Nora Naranjo-Morse.
Scholars will benefit most from this examination into a form of Pueblo handicrafts. The scholarly language, emphasis on art history, and exclusion of color photographs make this book much less valuable for the collector of Pueblo pottery.
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