<p>Nearly 200 photographs chronicle the evolution of Hopi jewelry over the last four decades and illustrate, through the Kópavi collection, the innovative and often stunning creations of twelve well-known Hopi artists. Included are Victor Coochwytewa, Phillip Honanie, and Michael Kabotie, as well as Ricky Coochwytewa, Sidney Sekakuku, Sharold Nutumya, Watson Honanie, Bradley Gashwazra, Norman Honie Sr., John Coochyumptewa, Beauford Dawahoya, and Jason Takala Sr. The artists incorporate gold, platinum, diamonds, and rare turquoise into a tradition previously identified predominantly with silver, while expanding the range of designs to include narrative and ceremonial representations. Some of the iconography speaks to the merging of two cultures: ancient Hopi and contemporary commodity. These objects have a historical voice and represent a major change not only in jewelry styles, but in Hopi culture.</p>

Hopi Gold, Hopi Silver: 12 Contemporary Jewelers

Arts & Photography

Pearlstone, Zena

History & Criticism

Schiffer

Ethnic L.A.

Politics & Social Sciences

Social Sciences

Hillcrest Pr

<p>This volume chronicles the commodification of the Hopi Katsinam (plural of Katsina or Kachina) over the last 150 years. Once known only to the Pueblo peoples of the Southwest, these carvings have been transformed into international symbols and are now found decorating designer scarves, T-shirts, coasters, and a host of other products. In the course of this heavily illustrated study, the authors confront the consequences of inter- and intracultural perception, definitions of sacred and secular, colonialist thought and postcolonial retort. Also included are short statements by thirteen contemporary artists actively carving Katsinam or representing them in their work.</p>

Katsina: Commodified and Appropriated Images of Hopi Supernaturals

Univ of California Museum of

Although Hopi carver Brian Honyouti (1947-2016) was deeply embedded in his culture and produced ritual artworks throughout his life, he nevertheless also created unique commercial artworks. The latter, the focus of this volume, increasingly diverged from the world view embodied in Hopi art, ceremony, and philosophy to become a new form of storytelling. While it is unlikely that anyone familiar with Hopi carvings (dolls) would look to Honyoutis artworks expecting to unearth political, social, or environmental truths and circumstances, these are, nonetheless, the messages he determined to convey. In Brian Honyouti: Hopi Carver, art historian Zena Pearlstone explores the ideas Honyouti sought to communicate through his work. She examines as well how he transmitted them by turning a traditional art form, the carved representations of katsinas, into a modernistic critique of local Native American and global concerns. It is as a result of these universal implications that Honyoutis art will endure. Because Honyoutis attachment to Hopi culture was so profound, he veiled his critical reflections with humor and imagination to avoid exposing too much to public scrutiny. Feeling that there should be a public record of his intentions, however, he set aside many of his self-imposed limitations when he agreed to collaborate with Pearlstone. It was his hope that having made his intentions public for the first time, his work would be seen as a window into Hopi life as well as a reflection of contemporary mainstream American society.

Brian Honyouti: Hopi Carver

Sculpture

iUniverse

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