by Hughes Oliphant Old (1992)
Author "weaves the five biblical voices of invocation, proclamation, wisdom, prophecy, and covenant into a chorus of theology as praise. Starting from the two Testaments, he develops his themes through the history of Christian worship with variations embracing not only rites and prayers but also art, music, and, above all, hymnody. The book will help the reading pastor to construct and conduct a rich service with the Lord's people on the Lord's Day"--Back cover.
Fred E. Katz
While preparing to spend the night in a museum exhibition of the treasures of King Tut, twelve-year-old Jessica and her friends become obsessed with mummies and stumble upon several strange incidents.
Aby M. Warburg
Aby M. Warburg (1866-1929) is recognized not only as one of the century's preeminent art and renaissance historians but also as a founder of twentieth-century methods in iconology and cultural studies in general. Warburg's 1923 lecture, first published in German in 1988 and now available in the first complete English translation, offers at once a window on his career, a formative statement of his cultural history of modernity, and a document in the ethnography of the American Southwest. This edition includes thirty-nine photographs, many of them originally presented as slides with the speech, and a rich interpretive essay by the translator. The presentation grew out of Warburg's 1895 encounter with the Hopi Indians, an experience he claimed generated his theory of the Renaissance. In this powerfully written piece, Warburg investigates the relationships among ethnography, iconography, and cultural studies to develop a multicultural history of modernity. As an independent scholar in Hamburg, Warburg led the intellectual circle that included Erwin Panofsky and Ernst Cassirer, pioneers in the investigation of cultural history through the analysis of visual art and the interpretation of symbols. When Warburg wrote this exposition, however, he was a mental patient in a Kreuzlingen sanatorium. Warburg's vulnerable state of mind lends urgency and passion to his discussion of human rationality and cultural demons.
Joan Potter Loveless
This reminiscence of the lives and work of three craftswomen covers a period of some forty years. Joan Potter Loveless came to Taos in the early 1950s fresh out of Black Mountain College where she had studied weaving with Anni Albers. When she and her artist husband and baby daughter arrived in their Model A convertible they did not suspect that they would establish a relationship with the region that would pull them back again and again. Loveless's life became. Intertwined with that of her friends Rachel Brown and Kristina Wilson. They shared with her a love for the New Mexico landscape, their work as weavers and spinners, and the joys and sorrows of children and grandchildren. In addition to the story of their friendship, this is the story of the evolution of their work--a relationship with wool that is unique to each weaver but for each intimately related to Northern New Mexico. As their careers developed they participated in. Craft co-ops, educational programs, and commercial ventures, including Tierra Wools in Los Ojos, New Mexico, and Weaving Southwest in Taos. Anyone who has ever made a living as a craftsperson or thought about doing so will delight in Joan Loveless's thoughtful evocation of this way of life. Loveless beautifully captures the spirit of Taos valley, the texture of daily life, and the challenge of the creative process. Anyone with an interest in the culture of the Southwest. Or the history of the Taos art colony will enjoy Three Weavers.
Veronica Passalacqua and Kate Morris
The exhibition features 39 iconic works of Native art that the museum acquired primarily through its Eiteljorg Contemporary Art Fellowship, including installations, paintings, prints, sculptures and glass and fabric art. Visually compelling works from artists Truman Lowe, Allan Houser, Kay WalkingStick, Meryl McMaster and Nicholas Galanin among others are included