reviews, catalogues & new publications

REVIEWS, CATALOGUES & NEW PUBLICATIONS

Fitz-Gibbon. Maiy1985 The Diaries of Edmund Montague

Morris: Western Journeys 1907-1910. Toronto:Royal Ontario Museum. 17.7x25.3 cm.. 179 pp..24 color plates. 51 black-and-white photographsand drawings. 4 maps, index, bibliography andliterature cited. ISBN 0-88854-259-3. Paperback.$24.95 Cdn. Royal Ontario Museum. 100 Queen'sPark. Toronto. Canada. M5S 2C6.

Reviewed by Linda B. RobertsonMuseum of Northern ArizonaRoute 4. Box 720Flagstaff. AZ 86001

The diaries of Edmund Montague Morrisare far more than a record of the events in his lifeof traveling, painting, and sketching among theBlackfoot of the late 19th and early 20th centur-ies. Morris portrays vividly the individual per-sonalities he met. recounting their stories andbits of oral tradition as told to him. in a way thatmakes his diaries also a a fragmentary chronicleof the lives of many of the Blackfoot he came incontact with. In addition to being an excellentsource on the Blackfoot for Plains specialists,Morris1 work was done during a time of great so-cial and cultural change, early in the reservationperiod, and anthropologists interested in thepath of culture change will be fascinated by manyof his observations and anecdotes. The volume isreplete with intriguing bits of ethnographic de-tail that, taken with other extant information onthe Blackfoot, can make interesting additions toour picture of this group in the early reservationperiod. Also, it gives an interesting picture ofEuroamerican attitudes toward the Indians atthat time-his father was at one time lieutenantgovernor of Manitoba, a Queen's representativein treaty negotiations quite sympathetic to theIndian position, and one of those who helped toestablish the North West Mounted Police force tobring order to the area and end tribal warfare.While Morris1 life certainly bespeaks similarsympathies, and his artwork is prey neither tothe "noble savage" nor the "red devil" views ofIndians common in his time, the text nonethe-less contains an occasional unconscious reflec-tion of the reality of his times in such remarksas. "Iron Shield has a daughter called Holy Pipe.She is the only beautiful Indian girl I have seen."In general, however. Morris1 writings are remark-ably free of such statements, and confine them-

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selves to descriptions of events that are far lessjudgmental in tone than those of many contem-poraneous professional ethnologists.

Museum anthropologists will be interest-ed not only in the costume detail in the artwork-Morris apparently did not participate in the com-mon tum-of-the-century practice of providingcostume materials or embellishing them for art-istic effect-but will also benefit from excellentphotographs of many of the actual pieces of ap-parel and paraphernalia, which survived as partof Morris* personal collection. He also was acareful describer of material culture, and oftenincluded in his writings annotated sketches ofitems such as a buffalo shield, complete with nar-rative on manufacture, and sometimes with ver-bal information from the Blackfoot on the his-tory of that type of object.

The book is beautifully put together, plac-ing Morris' drawings, paintings, and photo-graphs of individuals and objects in close proxim-ity to writings about them to create powerful com-posite perceptions. It is an excellent example ofhow archival materials can be used to enhancean understanding of a people and to create at thesame time a visually exciting and informativework.

Meltzer. David J.. Don D. Fowler, and Jeremy A.Sabloff, eds.

1986 American Archaeology Past andFuture: A Celebrationofthe Society for Ameri-canArchaeology 1935-1985. Washington: Smith-sonian Institution Press. 22.7 x 16 cm.. 479 pp..41 black-and-white photographs, drawings,charts and maps, individual bibliography foreach paper. ISBN 0-87474-692-2 hardback. ISBN0-87474-693-0. paperback.


This volume on the history of archaeol-ogy in the United States was published in connec-tion with the 1985 50th anniversary of the Socie-ty for American Archaeology. The history that itchronicles should be of some interest to non-archaeologists in the museum community aswell, for this history of how and why archaeolo-

gists have Interpreted the past at various times Inthe previous fifty years Is closely related to thehistory of how and why we in anthropology mus-eums have performed that same task- Many ofthe seventeen papers in the volume will be prim-arily of concern to the archaeologists in the re-search branches of our institutions, as they dealwith such problems as agricultural origins, thedevelopment of civilizations, and various theo-retical and methodological considerations. How-ever, anthropologists throughout the museumshould find Curtis M. Hinsley. Jr.'s piece on thedevelopment of the School of American Researchinteresting reading. It relates in excellent stylethe political interplay of powerful figures Inanthropology and philanthropy, and their rivalstaging areas in the Northeast and the South-west. Since many of our major institutions wereestablished amid similar turmoil (and often In-volving many of the same cast of characters), thearticle brings us closer to our origins and helpsus to understand a key aspect of that past, "theevolution of institutional structures out of indiv-idual energy and personality. ft (231). Thispaper, along with others by Don D. Fowler. BruceG. Trigger, and Jacob W. Gruber on various as-pects of the American public's perceptions of thishemisphere's prehistory, raises interesting ideasand questions about the history of museum an-thropology in this country.

The volume is. in general, an Interestingone, though there is some unevenness in thequality of papers. For example. Jesse Jennings'overview of the 1930-1985 period is too anecdotaland not sufficiently organized to be of great util-ity-Robert C. Dunnell's Five Decades of Ameri-can Archaeology—covers the same ground in amore readable and informative way. But the ed-itors of the volume have been conscientious inrepresenting a variety of points of view theoreti-cally-the juxtaposing of Lewis Binford's InPur-suit of the Future, Patty Jo Watson's Archaeolog-Icallnterpretation, 1985. and Mark P Leone'sSymbolic, Sructural and Critical Archaeology isparticularly informative in understanding thenumerous approaches actively pursued at thistime. Since archaeology is closely tied to thestudy of material culture in general, these var-ious notions of how one can deal with the mater-ial world ought to be of great interest to museumanthropologists, especially the ideas of Leone,who has written extensively on museum interpre-tation as well.

Babcock. Barbara, and Guy and Doris Monthan1986 The Pueblo Storyteller: Develop-

ment of a Figurative Ceramic Tradition Tucson:University of Arizona Press. 28.7x 18.1 cm.. 201pp.. 43 black-and-white pictures. 27 color plates.

1 map. foreword by Charlene Cemy, notes, glos-sary of terms, bibliography, index.ISBN 0-8165-0870-4. $40.


The Pueblo Storyteller details the recentdevelopment of a Pueblo figurative pottery formout of a tradition that reaches well back Into pre-history. These pieces were misunderstood byanthropologists and collectors as a late 19th-early 20th-century creation for the tourist mar-ket, and thus probably are underrepresented inmuseum collections. However. Barbara Bab-cock's close examination of the large corpus ofthis work demonstrates convincingly that theyrepresent expressions of important Pueblo teach-ing and family values, at least, and. consideringthe words of the potters and the prehistory/history of the art. speak powerfully also of reli-gious values dealing with human and agricultur-al fertility. Babcock draws together ethnograph-ic accounts of the use of clay figurines among thePueblos as "the seed from which the real objectswill grow" (10).

Babcock's text, drawn in part from herextensive work with the Cochiti storyteller-mak-er. Helen Cordero, also examines the figurativetraditions of the other pueblos, and it is possiblethrough her work to follow the complex intermar-riage relationships among people of the variouspueblos that have resulted in storytellers nowcoming from most of the pueblos, but the art stillbeing dominated by a few powerful families. Herwork is beautifully complemented by the inform-ation on Pueblo figurative potters collected overmany years by Guy and Doris Monthan and ex-cellent photography of key works, primarily byGuy Monthan. Interesting data are contained,although not overtly, in the book about how pot-tery styles are learned and what sorts of changesoccur when a potter moves to another puebloafter marriage. There is much food for thoughthere for students of Pueblo material culture andfor museum professionals lucky enough to beable to mount a show of these intriguing figures.As Cordero herself says:

When people ask me what it is. I tellthem it's my grandfather. He's givingme these. His eyes are closed becausehe's thinking and his mouth is openbecause he's telling stories. That one.he was a really good storyteller. Therewere always lots of us grandchildrensaround him. and we're all In there, inthe clay. (97.)

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As a book to be used In helping to identify collec-tion pieces or to help in planning a collectingeffort, it is excellent. The illustrations are clearand closely coupled with the relevant text, anddiscussions of individual styles and identifyingcharacteristics of work from the various villagesare skillfully done and articulated. As a book tobe read by non-professionals, it is attractive informat and execution, well-written, and placesthe pieces in a rich context that non-anthropolo-gists might well be unable to search out on theirown.

The book Is divided into four parts, thefirst a four-chapter section called The StorytellerTradition in Pueblo Culture. by Babcock; thesecond, a discussion of color use on the figures,followed by the 27 color plates; the third, a bio-graphical survey of the artists, giving date ofbirth, date of first storyteller, person who taughtthe artist pottery-making, and other potters inthe artist's family; and the fourth part is a refer-ence section, with glossary of terms, bibliogra-phy, and a carefully executed index. This formatworks very well, allowing the reader to go instant-ly to the type of information in which s/he isprimarily interested. In a book such as this,which is likely to attract a very broad audiencewith widely-varying reasons for seeking it out.this type of organization is particularly helpful.

Johnson. Elizabeth Lominska and KathrynBernick

1986 Hands of Our Ancestors: The Reviv-al of Salish Weaving at Musqueam VancouverUniversity of British Columbia Museum of An-thropology. Museum Note. No. 16. 25.3x20 cm..32 pp.. 48 black-and-white photographs, draw-ings, and maps. ISBN 0-88865-108-2. $4.95paperback.


This small catalogue Is from a recent ex-hibit at the University of British Columbia Mus-eum of Anthropology. The exhibit was a jointeffort by the museum staff and a number of mod-em Salish weavers who had first come to theMuseum to examine the historic pieces it had Inits collections. The collaborative effort proved arich one for museum staff, who were able to seethe pieces re-Integrated, in a sense, into culturalcontext, and hear and see native weavers at workand in discussion of pieces similar to those in themuseum collections. That the contact was salu-tary for both sides is clear In the words of theweavers: " .the Museum here played a very bigpart in creating the interest for the women on the

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reserve because we came out here. I think, thevery first week we ever got started." (17.) On anumber of occasions, the new weavers discusslooking at and trying to copy pieces and designsfrom the museum's collection. The cataloguereflects much of this experience, and it makesvery Interesting reading for that reason. John-son and Bernick wisely have let the participantsspeak for themselves, and extensive quotationsfrom the modem Salish weavers give a portraitof the weaving revival largely from the inside.

The book has some technical deficiencies-photograph reproduction is not always high qual-ity; a lack of differentiation between the text typeand the photo caption type creates confusion In afew places; and there are some editing problems.The organization plan is somewhat difficult tofollow, in that commentary on the current situa-tion and sections of historical information areinterspersed, rather than being presented as twocoherent areas of general discussion. Sentencesoccasionally are ambiguous in ways that mighthave been overcome by careful outside editing.These small flaws do not detract seriously, how-ever, and the information is all there for interest-ed persons to use. Also, it Is Important to notethat this is one in a series of Museum Notes of themuseum, apparently produced internally with-out financial support for publication from alarge press, or the attendant high prices. At$4.95, this Is well worth adding to a museum orpersonal library.

For reaching some understanding of this3000-year-old weaving tradition, the book isquite useful, and collections personnel seeking toidentify Northwest Coast textiles will find boththe photographs and the brief technical dicus-sions of value.

Lenz, Mary Jane1986 The Stuff of Dreams: NativeAmeric-

an Dolls. New York: Museum of the AmericanIndian. 29x22.5cm.. 96 pp.. 36 color plates. 45black-and-white photographs, artifact list, bib-liography. ISBN 0-93440-43-0. paper. $15.95.Museum of the American Indian. Heye Founda-tion. Broadway at 155th St.. New York. NY 10042.

Reviewed by Margot Blum SchevillHaffenreffer Museum of AnthropologyBrown University. Mt. Hope GrantBristol. RI 02809

For those who find miniaturization intri-guing and magical. The StuffofDreamswWbean absolute delight. For anthropological re-search, these Native American dolls give ethno-graphic Information at a glance that the humaneye cannot readily absorb when looking at thefull scale object for the first time. Lenz quotes

Claude Levi-Strauss In her Introductory re-marks: "A child's doll Is no longer an enemy, arival, or even an Interlocutor. In it and throughit a person is made into a subject" (p. 9). Lenzexpands on William Shakespeare's poetic meta-phor. "We are such stuffas dreams are made on."to include dolls, and proceeds to separate thisamazing variety of visually expressive objectsinto five categories: From Prehistory. For Play-ing. For Power. For Performance, and For Pur-chase. Many dolls belong in more than onecategory, but the organizational device hasproven effective in the exhibition of the samename [The StuffofDreams) that opened in May.1986 at the Kansas City Museum, in Missouri.

Highlights include an abstract ceramicarchaeological figure made by the Seri people ofSonora. Mexico (p. 15). a group of 16 Olmec fig-ures of jade, granite, and serpentine, deliberatelyarranged to form a scene (p. 19). two Aymarafestival dancer dolls from the Andes (p. 73). anEskimo dance ornament depicting a flying looncarrying a hunter in a kayak shaped like a shark(p. 67). and the marvelousry intricate TanainaShaman's doll. Cook Inlet. Alaska, that appearson the front and reappears in reverse on theback, so that one can appreciate the object in allits dimensions.

In the catalog. Lenz. who is AssociateCurator of the Museum of the American Indian,makes a convincing case for placing these choiceartifacts into the categories listed above thatmight not reflect the native aesthetic. Her writ-ing is clear and eloquent as she discusses each ofthe one hundred seventeen objects presented. Inaddition, an artifact list includes complete infor-mation on each doll, and references when avail-able.

Donald L. Werner, staff designer, wasresponsible for the handsome catalog design andalso for the exhibition, which will tour the Unit-ed States for the next year, and can be viewedduring the summer of 1987 at the HistoricalMuseum of Southern Florida, Miami. Donald M.Heald produced the photographs of the objects.Color plates are well balanced with black-and-white images of the dolls and historic photo-graphs, in which they appear in context. Moun-tain Chief. Piegan Blackfoot. veteran of the 19th-century intertribal wars on the northern plains,holds a miniature horse and rider (p. 72). AHopichild is carrying her first kachina doll, which isalmost as big as she is (p. 36). A pleasing designchoice was the use of deep, rose-colored paper forthe back of the front and back covers, and as thefirst page, which picked up on the color of therobe worn by the Tanaina Shaman's doll.

Both catalog and exhibition were madepossible by a grant from the National Endow-ment for the Humanities.

Piazza. Paul M.. Marshall Sprague. ChristopherWilson. Jonathan Batkin. and Charles A. Guerin

1986 Colorado Springs Fine Arts Center:A History and Selections from the PermanentCollections. Colorado Springs: Colorado SpringsFine Arts Center. 28x22 cm.. 210pp.. 126 colorplates, 60 black-and-white photographs, index ofillustrations. ISBN 0-916537-01-3 (cloth). ISBN0-916537-07-2 (paper). Available from the Color-ado Springs Fine Arts Center. 30 West Dale St..Colorado Springs. CO 80903. $25 paperback, $40cloth.

Reviewed by Margot Blum SchevillHaffenreffer Museum of AnthropologyBrown UniversityMt. Hope GrantBristol. RI

In celebration of its fiftieth anniversary,1936-1986. the Colorado Springs Fine Arts Cen-ter, under the direction ofPaul M. Piazza, haspublished a handsome catalogue featuring selec-tions from its diverse resources and informativeessays about the history of the Center and the col-lections. Color plates and historic photographsenhance this beautifully designed book, whichshould appeal to a broad audience.

Piazza introduces the reader to the collec-tions and exhibitions, the Art Education and Per-forming Arts programs, and information on howthese activities are supported. Marshall Sprague,historian, describes the formative years and theevolution from the Broadmoor Art Academy intothe Fine Arts Center up to the 1970s. Photo-graphs by Laura Gilpin and others accompanythis lively essay that will delight historiograph-ers. Architectural historian Christopher Wilsondiscusses John Gaw Meem, architect, and his rela-tionship to Alice Bemis Taylor, civic patroness,collector, and benefactress of the ColoradoSprings Fine Arts Center. The rest of the volumeis devoted to essays and illustrations of the col-lections of the Taylor Museum, which includeFolk and Fine Arts.

Charles A. Guerin. Curator of Fine Artsof the Center, focuses on 19th and 20th centuryart from the Southwest and Rocky Mountainregions. Paintings by artists such as GeorgiaO'Keeffe and Nicolai Fechin. who lived in or vis-ited the Southwest, and other contemporary art-ists also are presented, along with examples fromthe Sculpture. Works on Paper, and DecorativeArts collections.

Of greatest interest to museum anthropol-ogists will be the essay. The Taylor Museum: ATribute toFolk Culture by curator Jonathan Bat-kin, and the selections from the Folk Art collec-tions. Captions are informative, if minimal.The objects have been beautifully photographed,although some of the color seems a bit off. Forexample, the reds associated with the Ganado

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Trading Post (69) and cochineal-dyed, raveledred yarn (65) tend toward maroon rather than arich red. Batkin describes the contributions ofMitchell A. Wilder, the first curator, who wasresponsible for the development of the collec-tions, always emphasizing the need for accuratedocumentation, a research library, and an im-pressive list of publications at the end of theessays. One finds the works of art historianGeorge Kubler, who became acquainted withWilder in the 1930s when Kubler was researchinghis dissertation on the religious architecture ofNew Mexico, included in this list. Also. Wilderenvisioned a film festival devoted to the arts andcultures of the Southwest, but only one film wasreleased: Navaho Silversmtihing (1939). by JohnAdair.

Wilder realized that Spanish-Americanmaterial had been neglected for study and collec-tion, so Harry Garnett was enlisted to collect forthe Museum from the villages of northern NewMexico. Garnett concentrated on santos and thecontents of three chapels. The altarscreen andbultos by Jose Rafael Aragon now are on perman-ent display. Another unique segment of the Tay-lor Art Museum collections contains 111 paint-ings of Navajo sandpainting designs on brownwrapping paper by six Navajo medicine men andtheir apprentices between 1902-1924. a gift fromJohn Frederick Huckel. son-in-law of FredHarvey.

Lesser-known artifacts in the NativeAmerican Southwest section attract the eye—theRio Grande Pueblo necklace (61) with the so-called cross of St. James, and the Joined LinenandLaceTable Omomerit(80). 1904 or 1905, amissionary-influenced art form that lastedamong the Pima until the 1930s. Hie relation-ship between the Serape (Rio Grande Blanket), ca.1860-1870 (100) and the adjacent EmbroideredBedspread(SatanillaColca),ca. 1850 (101) isprovocative: did the embroiderer emulate withthe colcha stitch the patterns of the loom-wovenblanket, or vice-versa? The presence of MariaVergara-Wilson's FantasiaAntigua. 1985 (102). asubtle weft-ikat in natural dyes, informs thereader of the revival of Rio Grande weaving tak-ing place in New Mexico. Nasario Lopez' DeathCart, ca. 1860 reflects the practices of the Peni-tente Brotherhood during Holy Week, and is aneerie highlight of the Spanish New Mexico andColorado section (91).

The Taylor Museum's Guatemalan textilecollection, which includes 300 or more examplesfrom seventy villages collected in the field byEdith Bayles Ricketson in the 1930s, has beenpublished separately (see review: Vol. 9. No. 3:28-31, CMANewsletter). Several fine examples arepresented. CqfradiaHupilca. 1920. fromMixcoDepartment of Guatemala (118) is a rare, cere-monial blouse. Again, the color separation orprinting doesn't do justice to the delicate laven-

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der of the natural dye. purpurapatula. derivedfrom a mollusk. and highly valued. Anotherfavorite is the Embroidered Altar Cloth, (111),probably mid- 19th century, from Mexico, a wool-on-wool colcha example.with the Hapsburgdouble-headed eagle featured in the center. TlieFolk Art section concludes with examples fromOther Regions of North America. Oustanding areFood Sewing Bowl ca. 1860-1880. Tlingit orHaida. collected by Alton L. Dickerman in 1883(124). a masterfully carved sheep horn with to-temic images, and an impressive, large basket byMiwpk-Paiute LucyTelles. woven in 1930. withher characteristic sawtooth pattern.

Tlie handsome book design by K. R. Guer-in. along with well-researched information andvisual images presented, sustain interest over abroad spectrum. Hie catalogue is a tribute to theColorado Springs Fine Arts Center, its foundersand benefactors, and staff that seems to be asenthusiastic as they are knowledgeable about thecollections.

Simeone. William E.. and James W VanStone1986 "AndHe Was Beautiful:" Contem-

poraryAthapaskan Material Culture in theCollections of Field Museum of Natural History.Fieldiana Anthropology. New Series No. 10.Chicago: Field Museum of Natural History. 25.5x 17.5 cm.. 108pp., 72 black-and-white photo-graphs, including 2 maps. Literature Cited. 2Appendices. ISSN 0071-4739. $15. FieldMuseum of Natural History. Roosevelt Road atLake Shore Drive. Chicago. IL 60605-2496.

Reviewed by Margot Blum SchevillHaffenreffer Museum of AnthropologyBrown UniversityMt. Hope GrantBristol. RI 02809

The authors state in the abstract that pre-cedes this monograph that the 65 examples ofcontemporary northern Athapaskan Indiancrafts made by the Han. Tanacross. and UpperTanana Indians were collected for the museum in1981-1982. These objects are described, illustrat-ed, and placed in their historical and contempor-ary context. The purpose of this research projectwas to demonstrate that "contemporary north-ern Athapaskan material culture, at least ininterior Alaska, is vital, innovative, and mod-ern, but with strong ideological and technologi-cal roots in the past" (1). The text occupies 31pages of the book, and the rest is devoted to theillustrations, which include historic and contem-porary photographs and catalogue photographsof the objects. Because of the decorative nature ofbeadwork, it would have been pleasing to seesome of these artifacts in color.

The Introduction contains sections entit-led. "Hie People and the Environment," "Histori-cal Background." "Traditional Material Culture.1847-1867." and "Changing Styles. 1867-1930."The "Modem Context" Includes an Introduction."The Contemporary Village." "The Potlatch." and"Crafts." Section in focuses on "Subsistence.""Transportation." "Household Equipment."'Tools and Sewing Equipment." "Clothing andItems of Personal Adornment." and "CeremonialEquipment." and the fourth section follows. "Con-tinuity and Innovation/1 The appendices list theartifacts and give biographical information oncraftspeople represented in the collection. Thiscompact publication is certainly a model for amuseum monograph, and should be included inthe library of those who specialize in the sub-Arctic region.

Stocking. George W. Jr.. ed.1986 Objects and Others: Essays on Mus-

eums and Material Culture. History of Anthropol-ogy, volume 3/Ihe University of Wisconsin Press.Madison. No price given.

Reviewed by James M. NyceDepartment of AnthropologyBrown UniversityProvidence. RI 02912

This collection of papers, the third inStocking's history of anthropology series, looksat museums and the study of material culture.Stocking's introduction to these essays traces outthe shift in North American anthropology awayfrom museums and material culture. This, heargues, is due to a turn in the discipline from his-torical reconstruction where artifacts were animportant form of evidence to a behavioristorientation in which material artifacts are littleused for evidence or anything else. Stocking be-lieves that anthropology today, with the growthof interest in problems of history and the text,will turn again to the study of material culture.

Chapman's "Arranging Ethnology:AH.L.F Pitt-Rivers and the T^ologicalTradi-tion" is not just an account of Pitt-Rivers' life, hiscollections, and the museum he endowed at Ox-ford. Chapman looks at the nineteenth centurysystems of classification used to interpret andexhibit non-European artifacts and how theseartifacts were used to make statements about thehistory of man.

In "From Shell-Heaps to Stelae." Hinsleytakes up a more specific problem-the history ofHarvard's Peabody Museum of Archaeology andEthnology. He discusses its origin, its staff andexhibits, and how the museum's relationship toHarvard and Boston changed over time. Themuseum's prestige. Hinsley argues, increased asthe Peabody gained intellectual respectability

(the first academic archaeologists were trainedthere) and. as the museum's emphasis shiftedfrom the prehistory of North America to Mayancivilization, which patrons fou nd not only moreinteresting but more worthy of support.

Boas believed. Jacknis shows next, thatthe meaning of an artifact should not be reducedto the terms of any universal formal system,whether it be typological or evolutionary. Boas'work and role at the American Museum of Natur-al History is sketched out in this paper. Jacknisalso walks the reader through Boas' exhibits andshows how they reflect his views of what mus-eums and museum exhibits can and cannotachieve. It would seem that Boas' turn to the pro-blem of native meaning owed as much to hiswork on material culture as to the study of lan-guage.

Stocking, in "Philanthropoids and Van-ishing Cultures." discusses the shift in anthro-pology from the study of objects to the study ofbehavior. This occurred in part, he explains,because private foundations were willing to fundresearch of this kind. The paper looks at the sup-port the Rockefeller Foundations gave anthropol-ogy before 1934. how it changed both British andNorth American anthropology, and how thishelped to diminish the role museums were tohave in the discipline.

Williams looks at how exhibitions of pre-Columbian artifacts in late nineteenth centuryParis were received and how they led to the devel-opment of an ethnographic museum, the Troca-dero. While Williams provides a history of themuseum, her discussion of how these artifactshelped to change aesthetic theory and populartaste (and were themselves transformed intoworks of art) is more valuable. Wade, in the sixthessay, also discusses how social context givesitems of material culture their meaning. Wadeshows how changes in the relationships amongdealers, artists, patrons, and scholars since thenineteenth century have influenced Southwestethnic art.

Handler's "On Having a Culture." des-cribes the preservation acts the government ofQuebec has passed since 1922. He believes thechanges in these laws reflect changes in the gov-ernment and in the relationship of Quebec to therest of Canada. Under these acts, the categoriesof what can be protected and preserved havebroadened over time.

In the eighth essay. Trigger does not dis-cuss museums or material culture, but the workthat has been done on the history of archaeology.He is particularly interested in how history isused by some authors to justify their theoreticalpositions and how factors external and internalto archaeology have shaped the discipline. Heconcludes that students of the history of archaeol-ogy will in the end make better archaeologists.

Clifford's afterword. "Objects and Selves."reminds us that artifacts are linked to and areproducts of the imagination and fantasy-an -

area In which little work has been done. He sug-gests that we look at private meanings that are,at least in part, responsible for the collection andexhibition of objects. He notes that the struc-tures that determine the meanings of artifactsare not fixed and. as they shift, so do the mean-ings thought to be embedded in them.

Versaggi. Nina M.. Philip Carey, and PeterKlosky.

1986 Hunter to Farmer: 10,000YearsofSusquehanna Valley Prehistory. Binghamton.NY: Roberson Center for the Arts and Sciences.27.5 x 21.5 cm.. 83 pp.. 4 plates. 56black-and-white drawings, photographs, and paintings, re-productions. 4 maps. 3 tables. Available fromthe Roberson Center for the Arts and Sciences.30 Front Street. Binghamton. NY 13905.

Reviewed by Linda Parker ElbersDepartment of AnthropologyBrown UniversityProvidence. RI 02912

This publication completes a project de-signed to provide a local community with inter-pretations of the lives of prehistoric people incentral New York State. The stated intent of thepublication is to provide information in a waythat can benefit and be appreciated by archaeolog-ists and non-archaeologists alike. As archaeo-logists and museum curators frequently learn, itis hard to provide an exhibit or a publicationthat is both accurate enough to appeal to profes-sionals and imaginative enough to capture the in-terest of the general public. Hunter to Farmermanages to achieve this success.

Although the volume focuses mainly onthe prehistory of the Susquehanna Valley, earlysections provide both a context for this study anda general introduction to prehistory. Compari-sons between New York State and other parts ofthe country are especially valuable in thesections on environment, which cover 12.000B.P. to the present, and Ufestyles of prehistoricpeoples. The subsistence and social patterns ofthe Indians in each of the major time periods-the Paleo-Indian "Big-game Hunters." the Archa-ic hunters and gatherers, the Transitional Per-iod, and then the Woodland Indians-are describ-ed against the background of the contemporaryecological system. Black-and-white illustra-tions show the changing forest sequence in cen-tral New York State, complete with the animalsthat lived in the different forest settings. Theseillustrations are done in two-page spreads thatare both helpful and attractive.

The major section of the volume is a sitereport of the Roberson site, an Important localethat was occupied extensively from at least the

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Late Archaic through the Late Woodland Periods,and which is located on the grounds of what nowis the Roberson Center for the Arts and SciencesinBinghamton. New York. The discovery andearly investigation of the site is discussed, alongwith excavations which lasted from 1981 to1983. The methods of discovery are carefullydetailed, and the recovered materials are discuss-ed in four main categories: soil layers, features(including hearths, pits, and post molds), arti-facts and food remains. The descriptions of therecovered projectile points and ceramics are part-icularly well detailed, and include both photo-graphs and line drawings of each of the majorpieces. Many of the projectile points are shownwith the likely method of hafting drawn in toclarify the manner in which the object was used.Illustrations and photographs of the tool- andpottery-making processes also can be well appre-ciated.

A section entitled "Understanding thePast" attempts to piece together all of the "dues"that have been presented about each of the timeperiods represented at the Roberson site. Thehighlight of this section is the imaginative, de-tailed reconstructions of camp activities at eachtime period, including a breakdown of the Early.Middle, and Late Woodland Periods. These two-page drawings combine information presented inearlier sections as well, so that the different floraand fauna are shown in context with the differ-ent tool types, subsistence activities, cookingtechniques, and features of each of the differenttime periods.

A discussion of other prehistoric sites inthe southern tier of New York State permits agood synthesis of the area by time period. Eachof the other sites described also is documented inphotographs and maps. The volume ends with adiscussion of the importance of preserving his-tory. both by restricting development of land (theRoberson site was listed on the National Registerof Historic Sites), and by leaving certain areas ofsites unexcavated.

This volume is a valuable work in manyrespects. To begin with, it presents a synthesis ofNew York State prehistory. Secondly, it providesa good example of how archaeologists examine asite, stressing the scientific approach and thepainstaking analysis of clues to prehistory. It isa site report and an introduction to archaeologythat is readable and understandable, certainly bycollege-age students, and possibly even by highschool students. Aspects of this publicationmake it seem more like an exhibit catalog than asite report, and this has its drawbacks: there isno glossary, no index, and perhaps most import-antly, no bibliography. However, these draw-backs are outweighed by the value of the photogra-phic documentation and Imaginative artwork.The illustrations in this volume are extremelywell done. As much as the descriptions of arti-

facts and features, and the synthesis of prehis-tory will appeal to professional archaeologists,the reconstructions are an excellent way to pre-sent prehistory to the general public. The highlydetailed and accurate, yet imaginative, illustra-tions are the key to this volume's success in pre-senting prehistory that can be of interest to bothprofessionals and general readers at the sametime.

New Publications:

Costume as Communication: Ethno-graphic Costumes andTextilesfrom MiddleAmerica and the Central Andes ofSouthAmeri-ca, by Margot Blum Schevill, and with an essayby Andean specialist Ed Franquemont. will beavailable in winter. 1987. from the HaffenrefferMuseum of Anthropology. Bristol. RI. It is Vol-ume IV of the Studies in Anthropology and Mater-ial Culture, and is 150 pages in length, with 400catalog entries, essays, and illustrations. It isavailable at $15.

Fund Raising for Museums, byHedyA.Hartman. is available at $95 from the HartmanPlanning and Development Group. Ltd.. Bellevue.WA. The publication includes sections on thevarious types of funding needs, grantsmanship.and donor development, focusing on the interre-lationship of staff, volunteers, and trustees.Appendices on corporations, foundations, andgovernment agencies that are potential donorsare indexed for geographic location and museumtype.

EXHIBITS

Arizona State Museum, Tucson. AZ

MogoUoru Archaeology of the ArizonaMountainsOct. 16.1986-April30.1987

Bacone College Museum, Muskogee, OK

Shcmmee Home Ufe: The Paintings ofEarnest SpybuckJan. 12-Mar. 15.1987

This exhibition Includes 18 of the artist'sworks from the permanent collection of the Mus-eum of the American Indian. Hiswatercolorsoffer an unparalleled view of the day-to-day life

of the Shawnees in Oklahoma at the turn of thecentury. Following the showing at Bacone. thisexhibit will travel to Haskell College. Lawrence,KS. Mar. 30-May 30.1987

California Academy of Sciences, San Francisco.CA

Treasuresfrom the AnthropologyCollections.February 14-May 10.1987

Ethnographic and archaeological treas-ures unearthed during a two-year reorganizationof the Anthropology Department collections willbe exhibited, many for the first time since theAcademy's founding in 1853.

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