Art of the Americas: Syllabus
Prof. Suzanne Newman Fricke
email: suzanne@gofigure.org
Overview: Using in-class slide lectures, readings, and research assignments, this course will cover the painting, sculpture, and architecture of pre- and post-contact indigenous cultures in South America, Mexico, the United States, and Canada. Students will be able to discuss each culture, its relevant critical and historical issues, the artists involved (when known), and titles and dates of representative works. The works will be discussed with reference to their cultural contexts, including economic, social and political systems, and the role of conquest and colonization. The role of art and the artist in a particular society and why a piece was created will be addressed. The art will be discussed in terms of its symbolic content and interpretations of meaning according to the culture’s philosophy, science, and religion, but also formally, in terms of how it looks and how it was made. Students will learn to identify specific works and their styles and how to visually analyze a piece. The course will look at the various methodologies used in the history of art. Course assignments will help in the development of library research, writing, and critical-thinking skills. Given the overwhelming lack of written materials, much of the information about these cultures is speculative and is interpreted differently by different scholars. If you are uncomfortable with a high level of uncertainty, this class may pose a challenge.
Class Attendance: Given that the majority of the material will be covered in class, it is imperative that you attend and that you take comprehensive lecture notes. If you are unable to come to class on a particular day, it is useful to let the professor know as soon as possible and to obtain lecture notes from at least three students in the class. Please be advised that there is a direct correlation between missing classes and lower grades. If regular attendance will be difficult, this is not the class for you.
Class Readings: Reading is extremely important to your understanding of the material in this class. Students are expected to complete 50-100 pages of reading each week and to research their projects. Assigned readings are listed on the course syllabus by week; the readings are available on reserve in the library. It is important to read the material in a timely fashion and to review the material before each exam. Be prepared to answer questions on the readings in the exams. There will be additional books on reserve for use in research.
Dropping the Course: If you choose to drop the course, you are responsible for reporting the change to the registrar's office. If you stop coming to class and do not contact the registrar, you will receive a failing grade, even if you attended only once.
Class Environment: I prefer to treat all students as adults and hope that they will act accordingly. Since there is a great deal of information to cover in this class, it is important that all distracting behaviors (i.e., talking, note passing, etc.) are kept to a minimum. Please turn off all electronic devices including cell phones and pagers when you come to class. I welcome all relevant questions, but I ask that you raise your hand and allow me to call on you before you speak. Please be respectful and attentive when others are speaking in class. Food and drink are acceptable as long as you do not make a mess, disrupt the class, or bother your neighbors. If you must arrive late or leave early, please let me know ahead of time, sit in the back and leave in as unobtrusive a way as possible.
For parents, it is understood that you will have made arrangements for your children during class time. However, on those occasions that these arrangements fall through, you may bring your children to class if (and only if) you know that they will be able to sit through the class without disturbing your classmates. It is best to sit near the exit in case you must leave during class, and I ask other students to make these seats available. Please be aware that the topics discussed in class may be adult in nature and may be inappropriate for children.
Grading and Evaluation:
Short Paper: 10%
Long Paper: 30%
Three (3) Examinations: 20% each
Examinations: Each class will have three equally weighted exams and none of the exams are cumulative. Learning to take an exam is part of the learning process; after the first exam, students should learn to anticipate questions as the material is covered. The exams will cover material and from the classroom lectures and discussions and from the assigned readings. The exams consist of:
Slide identifications: You will be expected to know the artist, title, date, and location for each piece as it is written on the slide list.
Short answer questions: these include defining important terms, discussion of styles, and historical information. Given the nature of this class, you may also be asked to locate sites or cultural areas on blank maps; be sure to get to know the basic geography of the regions covered by the course.
Compare/Contrast essays: Compare/Contrast essays are perhaps the most widely used and poorly understood aspect of an art history class. We will discuss the proper format for a compare/contrast essay before the first exam.
Two weeks before each exam, you will be given a slide list. The slide list will contain approximately 60-70 images and you will be expected to learn these. Each piece is identified by: artist’s name, when known, though more often the artist is referred to by the artist’s culture group, like Iroquois, Olmec, or Inca; title, usually a generic title that refers to the kind of piece, such as Colossal Stone Head, False Face Mask, or Temple of the Sun; date, which will often be given as a broad time span since there are few concrete dates for works of Pre-Colombian art; and geographic location. These examples will appear on the test in various forms, as straightforward identifications, in the compare/contrast essays, or as part of the short answer questions. Learning these examples in vital to passing the exam. The best way to learn these works is to create a set of flash cards with the image on one side (a Xerox copy, downloaded image, or your own drawing) and the pertinent information on the back.
If the class is cancelled on the exam date, the exam will take place on the next class day. Otherwise the exams will occur on the days indicated on the syllabus whether or not we have covered all the information listed; exams will only cover topics covered in class.
There are no makeup examinations. If you have a compelling reason for missing an exam, you must discuss it with the instructor as soon as possible.
If you have been tested by the school as learning disabled, it is imperative that you let me know as soon as possible. It is best that you come and meet with me during the first week of classes. I am happy accommodate any student who needs extra help, but I need at least two weeks to prepare an exam for a student who will not be taking it with the rest of the class.
Paper Assignments: There will be two paper assignments each semester.
Paper guidelines: All written assignments are expected to be turned in at the beginning of class on the due date. Please type the paper or print it out in a legible font (i.e., Times New Roman, Arial, Garamond, or Bookman) using 12 point. Please include copies of pertinent images discussed in the text of your paper. You do not need a cover page; put the title of the paper across the top of the first page. Your name must be typed at the top of each page and the pages must be stapled (no clips or covers, please). Papers will lose one grade (i.e., from B to C) per day they are late. All papers are due at the beginning of class. If you know in advance that you will be unable to turn in a paper on the assigned day, it is up to you to contact the professor ahead of time. Please do not put your paper in my mail box on under my door; it is likely that they will be lost. Spelling and grammar are important to the clarity of your ideas; poor writing will lower your grade. Please proofread carefully or, better yet, take your paper to the writing center. Be sure that the paper is well organized with a central thesis (argument) that is supported by your arguments and has an informative introduction and conclusion.
Formal Analysis: The first will be due in Week 4 and will be a short (2-4 pages) formal analysis of a single work of art. Student’s will be given a list of images but are free to choose a different piece with the professor’s approval. A formal analysis is an analysis of the object the artist produces, that is, an analysis of the work of art, which is made up of such things as line, form, volume, materials, textures, and colors. This is a descriptive essay, not a research paper. You are to describe the piece you have chosen, emphasizing what you can see. The purpose of the paper is to make you aware of your vision and its importance for your engagement with the art. Barnet’s A Short Guide to Writing about Art is an excellent guide to describing, analyzing and interpreting art and architecture.
Research Project: The second assignment, due in Week 15, is a longer paper, about 8 to 10 pages, that explores one topic in depth. Students are expected to research their topic using at least 10 appropriate sources, including at least 3 articles; this specification is intended to help students become more familiar with finding articles as they provide the most specific and up-to-date information. Use books and articles that deal directly with your subject. While it is helpful to begin your research with more general texts, especially their bibliographies, they should not be counted among the 10 sources. Websites are not regulated and are therefore unreliable sources; they may be included but they do not count towards your 10 sources. You must include a bibliography and use either footnotes or endnotes; these are to be counted among the eight to ten pages of text. If you are unsure about the proper citation form for your sources, please consult Kate L. Turabian’s A Manual for Writers or The Chicago Manual of Style. Failure to cite sources is considered plagiarism. Resources vary greatly in quality for research in any field but particularly so for Native American art. The sources on reserve are a good place to start. In Week 5 I will pass a list in class on which you will designate what your topic. This will help to avoid twenty people writing on the same topic -- and fighting for the available sources. You must use a minimum of eight bibliographic sources, at least three of which must be a periodical. American Indian Art Magazine, for example, is a good source for many Native American art topics. A paragraph explaining your thesis statement and a preliminary bibliography listing proposed sources for your paper is due on in Week 10. This will help to make sure that your topic is properly defined and to avoid procrastination. Failure to turn in your thesis statement and bibliography on the assigned date will lower your paper grade by a ½ grade (i.e., a B will become a B-).
Select one art form from one cultures group to be covered by this class, such as Moche pots, colossal Olmec stone heads, Kwakiutl architecture or Iroquois False Face masks. Be specific and limit your topic to allow detailed coverage of the subject. For example, do not select art of Tlingit weaving as your paper topic but, rather, select a segment of Tlingit weaving, such as Chilkat dancing blankets or Tlingit baskets with false embroidery.
Conduct research on your chosen topic that will enable you to write a paper that includes discussion of the following quest ions:
What is the style of the art form like? What does the art form look like?
What is the history of that art form? How did the art form develop? How has it changed? What influences are apparent on that art form?
Is there symbolism involved in the art form? If so, what is it? What is the iconography involved?
Who is or was the artist of the work? While you may not be able to answer this with a specific person’s name, you can, in most cases at least, discuss whether the artist was male or female, a “professional’ artist or not.
Who is or was the patron of the art form? For whom (again, in general) was the art made?
What is or was the social significance the work of art to its creators and its users? How was or is the work of art an important part of the lives of the people who created and used that art form?
Do not merely answer these questions; write a good composition that includes discussion of these points. Your paper will be graded on both form and content.
As in all such art history papers, a few photocopied illustrations will be necessary to make your points and to let your reader know exactly what works you are using for your discuss.
First Semester: South and Central America
Texts:
Mary Ellen Miller, The Art of Mesoamerica.
Michael Coe, The Maya.
George Kubler, Art and Architecture in Ancient America.
Frances Berdan, The Aztecs.
Sylvan Barnet. A Short Guide to Writing about Art.
SOUTH AMERICA:
Week One: Introduction; Geography and Early Andean Cultures BCE 3500-400
Readings:
Kubler, “Introduction,” Chapter 11, “The Northern Andes: Colombia and Ecuador,” and Chapter 12, “The Central Andes: Early Northern Peru.”
Week Two: Early Intermediate Cultures: BCE 400-CE 600; City-State and New Towns, CE 600-1000; Late Intermediate Cultures and Incipient Empire, CE 1000-1400
Readings:
Kubler, Chapter 13, “The Upper North: Mochica and Chimu,” Chapter 14, “Central Peru,” Chapter 15, “The South Coast Valleys,” and Chapter 16, “The South Highlands.”
Week Three: The Inca Empire and the Conquest: CE 1400-1533
Readings:
Ascher and Ascher, The Code of the Quipu, Chapter 1, “Odyssey,” Chapter 3, “Inca Insistence,” Chapter 4, and “The Quipumaker.”
Susan Niles, The Shape of Inca History, Chapter 1, “Genre and Context in Inca Historical Narratives.”
Week Four: Inca continued
Readings:
Niles, The Shape of Inca History, Chapter 3, “Making History Visible.”
Gasparini and Margolies, Chapter 2, “Urban Settlements” and Chapter 4, “The Architecture of Power.”
FORMAL ANALYSIS PAPER DUE
CENTRAL AMERICA AND MEXICO:
Week Five: Introduction to Central American Cultures
Readings:
Miller, Chapter 1, “Introduction.”
Coe, Chapter 1, “Introduction.”
FIRST EXAM
LIST YOUR TOPIC IN CLASS
Week Six: Olmec at San Lorenzo, La Venta, and Tres Zapotes
Readings:
Miller, Chapter 2, “The Olmecs.”
Richard A. Diehl, “The Olmec at La Venta,” in Mexico: Splendors of Thirty Centuries.
Week Seven: Olmec and Olmec Extension: Tlatilco, Chalcatzingo, Izapa
Readings:
Miller, Chapter 3, “The Late Formative.”
Gareth W. Lowe, “Izapa: Between Olmec and Maya,” in Mexico: Splendors of Thirty Centuries.
Week Eight: Teotihuacan
Readings:
Miller, Chapter 4, “Teotihuacan.”
Ruben Cabrera Castro, “The Metropolis of Teotihuacan,” in Mexico: Splendors of Thirty Centuries.
Week Nine: Monte Alban and El Tajin, Vercruz
Readings:
Miller, Chapter 5, “Classic Monte Alban, Veracruz, and Cotzumalhuapa.”
Marcus Winter, “Monte Alban: Hilltop Capital in Oaxaca,” in Mexico: Splendors of Thirty Centuries.
Week Ten: Early Classic Maya: Tikal, Palenque, Copan
Readings:
Roberto Garcia Moll, “The Maya of Lowland Palenque,” in Mexico: Splendors of Thirty Centuries.
Coe, Chapter 2, “The Earliest Maya,” Chapter 3, “The Rise of Maya Civilization,” and Chapter 8, “Maya thought and Culture.”
Anthony Aveni, Chapter 4, “Power from the Sky: Ancient Maya Astronomy and the Cult of Venus, in Aveni, Stairways to the Stars.
SECOND EXAM
TURN IN BIBLIOGRAPHY
Week Eleven: Early Classic Maya: Uxmal
Readings:
Miller, Chapter 6, “The Early Classic Maya.”
Coe, Chapter 4, “Classic Splendor: The Early Period.”
Week Twelve: Late Classic Maya
Readings:
Miller, Chapter 7, “The Late Classic Maya.”
Coe, Chapter 5, “Classic Splendor: The Late Period.”
Week Thirteen: Early Post-Classic: Chichen Itza (Toltec Maya), Tula, Tulum
Readings:
Miller, Chapter 8, “Mesoamerica After the Fall of Classic Cities.”
S. Jeffery K. Wilkerson, “El Tajin: Great Center of the Northeast,” in Mexico: Splendors of Thirty Centuries.
Peter J. Schmidt, “Chichen Itza and Prosperity in Yucatan,” in Mexico: Splendors of Thirty Centuries.
Coe, Chapter 6, “The Post-Classic” and Chapter 7, “Maya Life on the Eve of the Conquest.”
Week Fourteen: Aztec
Readings:
Miller, Chapter 9, “The Aztecs.”
Frances Berdan, The Aztecs¸ Chapters 1-4.
RESEARCH PAPER DUE
Week Fifteen: Aztec
Readings:
Frances Berdan, The Aztecs¸ Chapters 5-7.
Eduardo Matos Moctezuma, “Imperial Tenochtitlan,” in Mexico: Splendors of Thirty Centuries.
Final: THIRD EXAM
Second Semester: Native Arts from Mexico, the United States, and Canada
Texts:
Janet C. Berlo and Ruth B. Phillips, Native North American Art.
Nabokov and Easton, Native American Architecture.
Sylvan Barnet. A Short Guide to Writing about Art.
Week One: Issues in Native American Art: How do you define Native American art? How is an art object different from an ethnographic object? How do we know what we know about Native American art and culture and how was this information gathered? How might the information be biased?
Readings:
Berlo and Phillips, Chapter One, “An Introduction to the Indigenous Arts of North America.”
Nabokov and Easton, Native American Architecture, “Introduction.”
J.C.H. King, “Tradition in Native American Art,” in Wade, ed., The Arts of the North American Indian.
Evan Maurer, “Determining Quality in Native American Art,” in Wade, ed., The Arts of the North American Indian.
Week Two: The Southwest: The Pueblos in New Mexico and Arizona
Readings:
Berlo and Phillips, Chapter 2, “The Southwest.”
Nabokov and Easton, Native American Architecture, Chapter 9, “Pueblo.”
John A. Ware, “The Southwest: An Overview,” in I Am Here.
Rick Dillingham, “Historic and Contemporary Pueblo Pottery,” in I Am Here.
Andrew Hunter Whiteford, “Pueblo Athabascan Baskets in the Southwest,” in I Am Here.
Week Three: The Southwest, continued: Navajo and Apache
Readings:
Nabokov and Easton, Native American Architecture, Chapter 8, “Hogan, Ki, and Ramada.”
Kate Peck Kent, “The History of Southwestern Weaving,” in I Am Here.
Nancy Fox, “Southwestern Indian Jewelry,” in I Am Here.
Week Four: The Eastern Woodlands, Archaic Eastern Woodlands, Archaic, Adena, Hopewell
Readings:
Berlo and Phillips, Chapter 3, “The East.”
Ralph Coe, “Archaeological Earthworks and Effigy Pipes: The Serpent Cult,” in Coe, ed., Sacred Circles.
David Penney, “The Late Archaic Period,” in Ancient Art of the American Woodland Indians.
David Brose, “The Woodland Period,” in Ancient Art of the American Woodland Indians.
FORMAL ANALYSIS PAPER DUE
Week Five: Mississippian and other Southeastern Art and Cultures
Readings:
Nabokov and Easton, Native American Architecture, Chapter 2, “Mound, Town, and Chickee.”
James Brown, “The Misissippian Period,” in Ancient Art of the American Woodland Indians.
David Penney, “Continuities of Imagery and Symbolism in the Art of the Woodlands,” in Ancient Art of the American Woodland Indians.
FIRST EXAM
LIST YOUR TOPIC IN CLASS
Week Six: The Eastern Woodlands: The Iroquois and the Huron
Readings:
Ruth B. Phillips, “Nuns, Ladies, and the ‘Queen of the Huron’: Appropriating the Savage in Nineteenth-Century Huron Tourist Art,” in Phillips and Steiner, Unpacking Culture.
Nabokov and Easton, Native American Architecture, Chapter1, “Wigwam and Longhouse.”
William Fenton, Chapters One - Five, The False Faces of The Iroquois.
Week Seven: The Plains
Readings:
Berlo and Phillips, Chapter 4, “The West.”
Nabokov and Easton, Native American Architecture, Chapter 3, “Earthlodge, Grass House, and Tipi.”
Coe, “The Plains Indians: An esthetic of Mobility,” in Coe, ed., Sacred Circles.
Joyce Szabo, Chapters One - Three, Howling Wolf and the History of Ledger Art.
Week Eight: Intermontaine and Plateau
Readings:
Nabokov and Easton, Chapter 4, “Pit House and Extended Tipi.
Glass Tapestry: Plateau Beaded Bags from the Elaine Horwitch Collection.
Week Nine: California
Readings:
Marvin Cohodas, “Louisa Keyser and the Cohns: Mythmaking and Basket Making in the American West,” in Berlo, ed., The Early Years of Native American Art History.
Nabokov and Easton, Native American Architecture, Chapter 7, “Wood, Earth, and Fiber.”
Ira Jacknis, “California,” in Objects of Myth and Memory.
Week Ten: The Far North: the Artic and SubArctic
Readings:
Berlo and Phillips, “Chapter 5, “The North.”
Nabokov and Easton, Native American Architecture, Chapter 5, “Winter House, Iglu, and Tent.”
SECOND EXAM
TURN IN BIBLIOGRAPHY
Week Eleven: Far North, continued
Readings:
“Ivory Madonnas, Bear Cults, and Shamans’ Visions: Eskimo Art and Archaeology in Sacred Circles.
Molly Lee, “Tourism and Taste Cultures: Collecting Native Art in Alaska at the Turn of the Twentieth Century,” in Phillips and Steiner, Unpacking Culture.
Week Twelve: Northwest Coast
Readings:
Berlo and Phillips, Chapter 6, “The Northwest Coast.”
Nabokov and Easton, Native American Architecture, Chapter 6, “Plank House.”
Ira Jacknis, “The Northwest Coast,” in Objects of Myth and Memory.
Week Thirteen: Northwest Coast, continued
Readings:
“The Grandeur of Northwest Coast Sculpture,” in Sacred Circles.
Aldona Jonaitis, “Northwest Coast Totem Poles,” in Phillips and Steiner, Unpacking Culture.
Wayne Suttles, “Streams of Property, Armor of Wealth: The Traditional Kwakiutl Potlatch,” in Aldona Jonaitis, ed., Chiefly Feasts.
Week Fourteen: Early Twentieth Century Native American Art
Readings:
Berlo and Phillips, Chapter 7, “The Twentieth Century: Trends in Modern Native Art.”
Diana Nemiroff, “Modernism, Nationalism, and Beyond: A Critical History of exhibitions of First Nations Art,” in Nemiroff, ed., Land Spirit Power.
Edwin Wade, Magic Images: Contemporary Native American Art
RESEARCH PAPER DUE
Week Fifteen: Contemporary Native American Art: Development of IAIA, rise of Indian Market
Readings:
Gerald McMaster, “Living on the Reservation ,” in McMaster, ed., Reservation X.
Charlotte Townsend-Gault, “Let X = Audience,” in McMaster, ed., Reservation X.
Final: THIRD EXAM
Bibliography
General Reference:
Pierce, James Smith. From Abacus to Zeus: a Handbook of Art History. (Upper Saddle River, New Jersey: Prentice Hall, 1998).
Turner, Jane, ed. The Dictionary of Art. 34 vols. (New York, New York: Grove's Dictionaries, 1996).
South America:
Anton, Ferdinand. The Art of Ancient Peru. (London: Thames and Hudson, 1972).
Ascher, Marcia, and Robert Ascher. The Code of the Quipu: A Study of Media, Mathematics, and Culture. (Ann Arbor, Michigan: The University of Michigan Press, 1981).
Benson, Elizabeth. Mochica. A Culture of Peru. (New York, New York: Praeger, 1972).
--. A Man and a Feline Mochica Art. (Washington, D.C.: Dumbarton Oaks, Trustees for Harvard University, 1974).
--. Ritual Sacrifice in Ancient Peru. (Austin, Texas: University of Texas Press, 2001).
Bonavia, Duccio, translated by Patricia Lyon. Mural Painting in Ancient Peru. (Bloomington, Indiana: Indiana University Press, 1985).
Burland, Cottie A. Peru Under the Incas. (New York, New York: Putnam, 1968).
Cordy-Collins, Alana. Pre-Columbian Art History: Selected Readings. (Palo Alto, California: Peek Publications, 1977).
--, and Peter Roe. Chavin Art. (Greeley, Colorado: University of Northern Colorado, Museum of Anthropology, 1983).
Cossìo del Pomar, Felipe. The Art of Ancient Peru. (New York, New York: Wittenborn and Company, 1971).
Donnan, Christopher, (editor) Early Ceremonial Architecture in the Andes. (Washington, D.C.: Dumbarton Oaks Reasearch Library and Collection, 1985).
--. Moche Art of Peru: Pre-Columbian Symbolic Communication. (Los Angeles, California: Museum of Cultural History, University of California, 1978).
Gasparini, Graziano, and Luise Margolies, translated by Patricia Lyon. Inca Architecture. (Bloomington, Indiana: Indiana University Press, 1980).
Hemming, John and E. Ranney. Monuments of the Incas. (Boston, Massachusetts: Little, Brown, 1982).
--. The Conquest of the Incas. (New York, New York: Harcourt, Brace, Jovanovich, 1970).
--. Machu Picchu. (New York, New York: Newsweek, 1981).
Kubler, George. Art and Architecture in Ancient America. (Middlesex, England: Penguin Books, Third Edition, 1984).
Lanning, Edward. Peru Before the Incas. (Englewood Cliffs, New Jersey: Prentice-Hall, 1967).
Lapiner, A. Pre-Columbian Art of South America. (New York, New York: H.N. Abrams, 1976).
--. Ancient Peruvian Sculpture. (New York, New York: Arts of the Four Quarters, 1967).
--. Sun Gods and Saints: Art of Pre-Columbian and Colonial Peru. (New York, 1968).
Lumbreras, Luis, translated by Betty J. Meggers. The Peoples and Cultures of Ancient Peru. (Washington, D.C.: Smithsonian Institution Press, 1974).
Morrison, Tony. The Mystery of the Nazca Lines. (Woodbridge, Suffolk, England: Nonesuch Expeditions, 1987).
--. Pathways to the Gods: The Mystery of the Andes Lines. (New York, New York: Harper and Row, 1978).
Moseley, Michael. The Incas and Their Ancestors: The Archaeology of Peru. (London; New York, New York: Thames and Hudson, 2001).
--. and Kent Day, eds. Chan Chan: Andean Desert City. (Santa Fe, New Mexico: University of New Mexico Press, 1982).
--. Peru’s Golden Treasures: An Essay on Five Ancient Styles. (Chicago, Illinois: Field Museum of Natural History, 1978).
Niles, Susan A. The Shape of Inca History: Narrative and Architecture in an Andean Empire. (Iowa City, Iowa: University of Iowa Press, 1999).
Paul, Anne. Paracas Textiles: Selected from the Museum’s Collections. (Goteborg: Etnografiska museet, 1979).
--. Paracas Art and Architecture: Object and Context in South Coastal Peru. (Iowa City, Iowa: University of Iowa Press, 1991).
--. Paracas Ritual Attire: Symbols of Authority in Ancient Peru. (Norman, Oklahoma: University of Oklahoma Press, 1990).
Reichel-Dolmatoff, Geraldo. San Agustin: A Culture of Colombia. (New York, New York: Praeger, 1972).
Rowe, John and Dorothy Menzel, eds. Peruvian Archaeology. (Palo Alto, California: Peek Publications, 1970).
--. Chavin Art: An Inquiry into its Form and Meaning. (New York, New York: Museum of Primitive Art, 1962).
--. An Introduction to the Archaeology of Cuzco. (Cambridge, Massachusetts: The Museum, 1944).
Stone-Miller, Rebecca. To Weave for the Sun: Andean Textiles in the Museum of Fine Arts, Boston. (Boston, Massachusetts: Museum of Fine Arts, 1992).
Central America and Mexico:
Ades, Dawn. Art in Latin America: The Modern Era, 1820-1980. (New Haven, Connecticut: Yale University Press, 1989).
Aveni, Anthony. Stairways to the Stars: Skywatching in the Three Great Ancient Cultures. (New York, New York: John Wiley and Sons, Inc., 1997).
Berdan, Frances F. The Aztecs. (New York, New York: Chelsea House Publishers, 1989).
Benson, Elizabeth. The Maya World. (New York, New York: Cowell, 1977).
--, and Gilett, G. Griffin, eds. Maya Iconography. (Princeton, New Jersey: Princeton University Press, 1988).
Burke, Marcus. “The Academy, Neoclassicism, and Independence,” in Mexico: Splendors of Thirty Centuries. (New York, New York: The Metropolitan Museum of Art and Bulfinch Press, 1990).
Burland, C.A. Art and Life in Ancient Mexico. (Oxford: B. Cassirer, 1948).
--. Feathered Serpent and Smoking Mirror. (New York, New York: Putnam, 1975).
Cancel, Luis R. The Latin American Spirit: Art and Artists in the United States, 1920-1970. (New York: H.N. Abrams in association with the Bronx Museum of the Arts, 1988).
Coe, Michael D., and Rex Koontz. Mexico: From the Olmecs to the Aztecs. (London: Thames & Hudson, 2002).
--. The Maya. (New York, New York: Thames and Hudson, 1991, fourth edition).
Covarrubias, Miguel. Indian Art of Mexico and Central Mexico. (New York, New York: Knopf, 1957).
Farago, Claire, ed. Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650. (New Haven, Connecticut: Yale University Press, 1995).
Flannery, Kent, and Joyce Marcus, eds. The Cloud People: The Divergent Evolution of the Zapotec and Mixtec Civilizations. (New York, New York: Academic Press, 1983).
Heyden, Doris, and Paul Gendrop, translated by Judith Stanton. Pre-Columbian Architecture of Mexoamerica. (New York New York: 1975).
Kubler, George. Art and Architecture of Ancient America: The Mexican, Maya, and Andean Peoples. (Baltimore, Maryland: 1975).
Leon-Portilla, Miguel, translated by Lysander Kemp. The Broken Spears: The Aztec Account of the Conquest of Mexico. (Boston, Massachusetts: Beacon Press, 1962).
Lucie-Smith, Edward. “Mexican Muralism,” in Edward Lucie-Smith, Latin American Art of the Twentieth Century. (London; New York, New York: Thames and Hudson, 1993).
--. Latin American Art of the Twentieth Century. (London; New York, New York: Thames and Hudson, 1993).
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Miller, Mary Ellen. The Art of Mexoamerica: from Olmec to Aztec. (London: Thames and Hudson, 1996).
Morley, Sylvanus, revised by Robert Sharer. The Ancient Maya. (Stanford, California: Stanford University Press, 1983).
Pasztory, Esther. Aztec Art. (New York, New York: H. N. Abrams, 1983).
Paddock, John. Ancient Oaxaca: Discoveries in Mexican Archeology and History. (Stanford, California: Stanford University Press, 1966).
Popol Vuh, translated by Dennis Tedlock. (New York, New York: Simon and Schuster, 1986).
Peterson, Jeanette Favrot. “The Virgin of Guadalupe: Symbol of Conquest or Liberation?” Art Journal 51:4 (Winter 1992): 39-47.
Smith, Bradley. Mexico: A History in Art. (Garden City, New York: Doubleday & Co., 1968).
Tedlock, Dennis. Breath on the Mirror: Mythic Voices and Visions of the Living Maya. (Albuquerque, New Mexico: University of New Mexico, 1997).
Native Art in the United States and Canada:
American Indian Art: Form and Tradition. (Walker Art Center, Indian Art Association, and the Minneapolis Institute of Arts, 1972).
Black, Lydia T. Glory Remembered: Wooden Headgear of Alaska Sea Hunters. (Seattle, Washington: University of Washington Press, 1991).
Berlo, Janet Catherine and Ruth B. Phillips. Native North American Art. (New York, New York: Oxford University Press, 1998).
--, ed. The Early Years of Native American Art History. (Seattle, Washington: University of Washington Press, 1992).
Brose, David S., James A. Brown, and David Penney. Ancient Art of the American Woodland Indians. (New York, New York: H.N. Abrams, 1985).
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