Art2370-Assignment 1
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University of North Texas *
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2370
Subject
Arts Humanities
Date
Jan 9, 2024
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docx
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Uploaded by breshae53
Assignment 1: Adding to Realism or Native American Art
Photograph of Object
Introduction
This is
Avanyu Designed Pot
, made by Julian Martinez in between 1934-43. This essay analyzes
this object and explains why it should be added to the Native American Art Module, arguing that
it represents the module concept of Native American artists in the 19
th
and 20
th
centuries
preserving traditional practices but also incorporated new material and ideas and comparing to
Nampeyo (Hopi-Tewa), Polychrome jar from the module.
Analysis: Physical Properties
To address the physical properties, the object is made of clay and other minor products to make
this ceramic masterpiece; made by the coiling and scraping method seen in the smooth, matte
finish, and “elegant” shape of pot. It is painted, black to be specific. The size of the work is
21.7cm x 26.7 cm and is roughly the size of a basketball, as seen in the photograph presented, it
looks as if it can be held easily in someone’s palm. Holding this work would make you feel
common and not too small compared to other Native American Art provided in the module.
Analysis: Form
The form of this work is best described as stylized because the designs on the outer face of the
pot are more “geometric” and “figurative”, as Martinez wanted to include a historic story into his
work. Space is handled by incorporating the main focus of the pot towards the center of the
artwork, and the surrounding it by negative space in order to incorporate traditional practices into
the piece. Line appears in the main focus of the artwork where curvilinear along with horizontal
lines mark the motif being told in through the artwork presented. The lines outline a story of the
Mesoamerican deity Quetzalcoatl; which is why their or harsh horizontal lines and soft and/or
calm curvilinear lines throughout the ceramic, because this deity represents harsh warfare and
calm rain. The composition of the artwork is rhythmic, properly proportioned and has an optic
main focus. As seen in the overall finished product, the pot demonstrates some rhythm as the
center involves an array of similar shapes involving sharp and smooth lines/spaces. The
successfulness of the proportions gives another uplift to the pottery’s overall design, as seen in
the main design of the deity
Quetzalcoatl
where Martinez chooses to proportion the feathered
serpent in the desired space centered in the focus of the ceramic pot allowing the audience to pay
attention to the characteristics of the design, such as the sharp, zigzagged tongue, or even the
elongated, smooth body of the serpent. The focal point of the artwork is clearly shown through
the unique and historic design of the feathered serpent,
Quetzalcoatl
, where Martinez centered
directly in the center band area of the pot, surrounded by negative space, ultimately leading the
audience’s focus to that desired area of the artwork. The texture seems smooth and maybe
somewhat rough, as illustrated in the center of the pot where some parts are glossy and polished
while other parts look dry, rough and unpolished. Color is a darker tone and value; since the
ceramic pot was glazed black, but part of the pot is a lighter hue like a greyish color, maybe
because it wasn’t glazed and finished like the rest of the pot. There isn’t much light to be
analyzed since this artwork is a ceramic pot, but when light hits certain parts of the art, it shows
the different sections of the glazed pot, especially the parts that aren’t glazed.
Analysis: Subject Matter
The natural subject matter of this work is pottery such as the one being analyzed in this script is
part of a historic tradition of the Mimbres people who settled near the Mimbres River in modern
day New Mexico. The deeper meaning of this work is that this traditional pottery often told a
story. These would often consist of old folk tales, and/or deities in that culture. The signs that
reveal this deeper meaning are the geometric, and styled designs on the ceramics such as the one
being analyzed. This pot was created to simply tell the story of the “
avanyu
”, or deity
Quetzalcoatl by painting/designing the geometric structure of the “horned feathered serpant”.
Analysis: Context
This work reflects the context established in the module lecture video
Pueblo Modernism of
Velino Shije Herrera
Justification: Concept
This work should be added to the module because it illustrates the module concept of Native
American artists in the 19
th
and 20
th
centuries preserved traditional practices but also
incorporated new materials and ideas. It embodies this concept because it incorporates new and
old centuries of tradition. For example, this ceramic was created using new age traditions such as
sculpting it in unique shapes and using a combination of matte and polished paint. But it also
incorporates the famous grid patterns along with figurative elements from Mimbres pottery.
Justification: Comparison
I would include this work in the module to accompany Ma Pe Wi created by Velino Shije
Herrera. The two works share the same core tradition used by the Puebloan people in earlier
centuries. They both use distinctive “feather” and “grid” patterns as used in Mimbres pottery and
Puebloan art. An example would be the distinct pattern of birds and trees in
Ma Pe Wi
, just as the
pot comprises grid patterns and geometric styles as well. They differ from the aspect of Ma Pe
Wi is a “modernized” painting and the Avanyu ceramic is a pot. The work I add to the module
would illustrate the fact that new age Native American artists still found ways to incorporate
historic traditions into their art.
Conclusion
In conclusion, this essay has analyzed the Avanya Pot and demonstrated that it should be added
to the Native American Art module in order to illustrate the module concept of Native American
artists in the 19
th
and 20
th
centuries preserving traditional practices but also incorporatig new
materials and ideas.
Sources Consulted
Fricke, Dr. Suzanne Newman, and Dr. Suzanne Newman Fricke. “Julian Martinez, Buffalo
Dancers.”
" Julian Martinez, Buffalo Dancers
, smarthistory.org/julian-martinez-buffalo-
dancers/. Accessed 19 Sept. 2023.
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