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Since Pueblo pottery has continued to command great respect (and high prices) over the last 20 years, it is appropriate for Dillingham to revisit the subject of his now-classic Seven Families in Pueblo Pottery (1974) in this expanded and updated sequel. The text covers families from Acoma, Zia, Cochiti, Santo Domingo, Santa Clara, San Ildefonso, and the Hopi mesas. Like the best books on Indian arts, the emphasis is on the potters' own descriptions of their work. Profiled with a juxtaposition of photos, quotes, and images of specific pieces, the artists speak movingly about their training, design ideas, and influential family instructors, thus making their inspirations come alive for the reader. Dillingham, wqho died recently, was a noted ceramicist, and his understanding of the craft process contributed greatly to the elicitation of the valuable insights found within this work. Highly recommended.
Paula A. Baxter, NYPL
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Product Description
In 1974 Seven Families in Pueblo Pottery was published to accompany an exhibit at the Maxwell Museum of Anthropology: twenty years later there are some 80,000 copies in print. Like Seven Families, this updated and greatly enlarged version by Rick Dillingham, who curated the original exhibition, includes portraits of the potters, color photographs of their work, and a statement by each potter about the work of his or her family. In addition to the original seven—the Chino and Lewis families (Acoma Pueblo), the Nampeyos (Hopi), the Guteirrez and Tafoya families (Santa Clara), and the Gonzales and Martinez families (San Ildefonso)—the author had added the Chapellas and the Navasies (Hopi-Tewa), the Chavarrias (Santa Clara), the Herrera family (Choti), th Medina family (Zia). and the Tenorio-Pacheco and the Melchor families (Santo Domingo).
Because the craft of pottery is handed down from generation to generation among the Pueblo Indians, this extended look at multiple generations provides a fascinating and personal glimpse into how the craft has developed. Also evident are the differences of opinion among the artists about the future of Pueblo pottery and the importance of following tradition.
A new generation of potters has come of age since the publication of Seven Families. The addition of their talents, along with an ever-growing interest in Native American pottery, make this book a welcome addition to the literature on the Southwest.
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