Thirty years ago J. J. Brody published his influential book Indian Painters and White Patrons and challenged an established understanding of the twentieth-century development of Native American painting. Simultaneously he spurred the development of a doctoral program in art history at the University of New Mexico. The range and strength of this program is evident in the scholars it has developed. Twelve of Brody’s former students have contributed to this volume in his honor. Brody is a recognized expert on Native art of the Southwest, and there are essays here by Greta Murphy on Navajo weaving and H. Denise Smith on rock art. He encouraged work on Plains topics as well: included are essays on Plains art by Marsha C. Bol, Adrianne A. Santina, and Joyce Szabo. Steven L. Grafe examines the early nineteenth-century introduction of floral beadwork to the Plateau region. Several writers explore aspects of modern Native American art: Ruth LaNore studies Tesuque printmake! r Juan Pino; Kathleen Ash-Milby examines the painter Bonita Wa Wa Calachaw Nuñez; and Samuel E. Watson III looks at painter Charles Monegar. Kate Morris explores several prominent contemporary artists and the relationship of their paintings to landscape, while Joy L. Gritton examines other issues of contemporary art and the marketing of image.
J. J. Brody continues to be a great teacher and scholar. This broad and lively anthology reveals the breadth of his influence and the vitality of the field of Native American art history.
