Indigenous Americas: Native American Analyses+(6)

Directions:
1. List the five identifiers (found in the powerpoint lecture) for each piece below the image.
These include the title, name of artist if known, period, culture of origin, date of
creation, and materials.
2. Complete a visual analysis of the work of art. Visual analysis includes a description of
FORM, style, materials, technique and CONTENT. What is it made of? What does it
look like? How was it made? What is it about?
3. Complete a contextual analysis of the work of art. Contextual analysis includes the
FUNCTION, CONTEXT, siting or physical context, subject matter, and reception.
What is the purpose of this work? Who made it? Who commissioned it and why? When
and where was it made? What is it about? Who was it made for? Who used it and how
was it used? How did people experience this work?

Five Identifiers Visual Analysis Contextual Analysis

On the top ledge is a cool, dry storage moved due to lack of resources and issues
area that is accessible via a ladder. with the water supply.
Kivas stood facing the square in front The Mesa Verde Cliff Houses feature
of a mysterious home. cut into the side rectangular living quarters and a room
of the cliff. This summer would stay designated for family get-togethers.
cool, and there wouldn't be much sun
Name: Mesa in the winter.
Verde cliff
dwellings
Dates: 450-1300
CE
Culture:
Montezuma
Country,
Colorado;
Anasazi Material:
Sandstone
 The end curls and tapers off into an denoting the eclipse of the sun. Some believe
unhinged mouth that is about to it illustrates astronomy as society understands
swallow something protruding from its it.used to ascertain the season. The snake can
mouth. Here is the largest model hill of be used as a kind of compass because its
snakes. The snake has three bends in bends line up with the North Star.
Name: Great it.
Serpent Mound
Dates: 1070 CE
Culture: Adams
County, southern
Ohio;
Mississippian
(Eastern
Woodlands)
Material:
Earthwork/effigy
mound

intricate motifs and repeating patterns
on the tassels.
The entire fabric is crimson, with
various designs at the ends. tufts and
trapezoidal augmentations of brown,
red, blue, and green
Both men and women are lovely and useful.
were highly valued items that were often
created by women.Lenape people's diligence
and assurance would be met.

Name: Bandolier
bag
Dates: 1850 CE
Culture: Lenap[e
(eastern
Delaware) tribe
Material:
beadwork on
leather
 The human face appears within, It was worn during potlatch and functioned as
meant to be primordial. The hair would the host's status symbol. These were
have been made of string that unfurled labor-intensive to make, highly valuable, and
in the shape of a bird's wings. symbolic of wealth and status.
Name:
Transformation
mask
Dates: Late 19th
CE
Culture: Kwakiutl,
Northwest coast
of Canada
Material: Wood,
paint and string

utilized to honor the gods. In order to be worn as a robe or hung on a wall. The wide
record and preserve history and range of colors and dyes used illustrates trade.
custom, it features men dancing and
singing, as well as buffalo teepees.

Name: Hide
painting of Sun
Dance
Artist: Attributed
to Cotsiogo
(Cadzi Cody)
Dates:
1890-1900 CE
Culture: Eastern
Shoshone, Wind
River
Reservation,
Wyoming
Material: Painted
elk hide
 produced by curling growth. Its surface Maria developed a unique method for making
is finely polished and has a striking pots that made them lighter, more visually
contrast between glossy and matte appealing, and less functional. Grain and
black. It was constructed by hand and seeds can be stored and utilized for cooking.
has good symmetry. Its walls are all
the same thickness and it is in great
shape.

Name:
Black-on-black
ceramic vessel
Artist: Maria
Martinez and
Julian Martinez
Dates: mid-20th
century CE
Culture: Tewa,
Puebloan, San
Ildefonso Pueblo,
New Mexico
Material:
Blackware
ceramic