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Good Pictures Are a Strong Weapon: Color Insert Section

Good Pictures Are a Strong Weapon
Color Insert Section
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“Color Insert Section” in “Good Pictures Are a Strong Weapon”

Color Insert Section

Graphic rendering of three women seen from the waist up, dressed in warrior regalia; one holds a human heart and another wields a knife.

Plate 1. Jolene Nenibah (“Bean”) Yazzie (Diné, born 1978), Sisters of War, circa 2008. Digital image. Courtesy of the artist.

A train cuts diagonally through the landscape, separating a village in the foreground from a lake and woods.

Plate 2. Frances Flora Bond Palmer (American, 1812–1876), Across the Continent. “Westward the Course of Empire Takes Its Way,” 1868. Lithograph with applied watercolor, 17 11/16 × 27 1/4 inches. Amon Carter Museum of American Art, Fort Worth, Texas. 1970.187.

Mural on three walls depicting a hogan, three women, and a loom in graphic style.

Plate 3. Jolene Nenibah (“Bean”) Yazzie, Bik’eh Hozho, 2011. Installation view of mural at 516 Arts, Albuquerque, New Mexico. Courtesy of 516 Arts.

Six smiling women and children seated in a traditional summer shelter look at a book of photographs on the floor between them.

Plate 4. Laura Gilpin, Untitled (Family looking at work book), 1953. Color film slide/transparency, 3 1/4 × 4 inches. Amon Carter Museum of American Art, Fort Worth, Texas. Laura Gilpin Papers, A2007.069. Copyright 1979 Amon Carter Museum of American Art.

Elevated view of Monument Valley, with buttes and other rock formations.

Plate 5. Laura Gilpin, Untitled (Monument Valley), printed 1968 in The Enduring Navaho (Austin: University of Texas Press, 1968). Color halftone offset lithograph, 6 1/16 × 7 3/8 inches. Copyright 1979 Amon Carter Museum of American Art.

Video still of iron-rich earth distorted by motion blur into orange-brown streaks.

Plate 6. Steven Yazzie (Diné/American, born 1970), still from Draw Me a Picture [blurred ground], 2007. Digital image from video. Courtesy of the artist.

A road through Monument Valley, seen from above. A small figure in a vehicle travels from left to right.

Plate 7. Steven Yazzie, still from Draw Me a Picture [Yazzie in vehicle], 2007. Digital image from video. Courtesy of the artist.

Video still of West Mitten Butte, East Mitten Butte, and Merrick Butte, in Monument Valley.

Plate 8. Steven Yazzie, still from Draw Me a Picture [Monument Valley landscape], 2007. Digital image from video. Courtesy of the artist.

Ten men stand around the end of a conference room table, engaged in discussion.

Plate 9. Laura Gilpin, Navajo Land Claims Board, 1953. Color film slide/transparency, 3 1/4 × 4 inches. Amon Carter Museum of American Art, Fort Worth, Texas. Laura Gilpin Papers, A2007.069. Copyright 1979 Amon Carter Museum of American Art.

A mixed group of people, some standing and others seated, facing the center of a hogan.

Plate 10. Laura Gilpin, The meeting at Counselor, New Mexico, February 3, 1953. Color film slide/transparency, 3 1/4 × 4 inches. Amon Carter Museum of American Art, Fort Worth, Texas. Laura Gilpin Papers, A2007.069. Copyright 1979 Amon Carter Museum of American Art.

A rectangular woven blanket with blue, brown, and cream horizontal stripes.

Plate 11. Unidentified Navajo artist, Phase I Chief Blanket, 1800–1850. Dyed and woven wool. Courtesy of the Museum of Indian Arts and Culture, Laboratory of Anthropology, Santa Fe, New Mexico. 9117/05.

A rectangular woven blanket with red, black, and cream horizontal stripes.

Plate 12. Unidentified Navajo artist, Phase I Variation Chief Blanket, 1850–65. Dyed and woven wool. Courtesy of the Museum of Indian Arts and Culture, Laboratory of Anthropology, Santa Fe, New Mexico. 9118/01.

This image is only available in the print edition.

Plate 13. Juan Nakai (Diné, 1926–1973), Monument Valley, 1963. Opaque watercolor on paper, 10 × 14 inches. Courtesy of Marie S. Curley and Anna Mae Clyde, sisters of Juan Nakai, and their families.

Two women and a child stand beneath a tree obscuring a house.

Plate 14. Jolene Nenibah (“Bean”) Yazzie, Untitled (Mayda Benally and Family), 2019. Digital photograph. Courtesy of the artist.

Two women embrace on a kitchen threshold, surrounded by home goods. They smile at the photographer.

Plate 15. Jolene Nenibah (“Bean”) Yazzie, Untitled (Mayda and Gwenn), 2019. Digital photograph. Courtesy of the artist.

A rainbow arches over a field of yellow flowers, stretching from the horizon up into the raincloud at upper left, with blue sky in the distance.

Plate 16. Laura Gilpin, Navaho Rainbow, 1968. Color halftone offset lithograph published in The Enduring Navaho (Austin: University of Texas Press, 1968), from a dye destruction print, 9 1/4 × 6 3/16 inches. Copyright 1979 Amon Carter Museum of American Art.

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The University of Minnesota Press gratefully acknowledges the financial assistance provided for the publication of this book by Oklahoma State University.

Publication of this book has been aided by a grant from the Wyeth Foundation for American Art Publication Fund of CAA.

Open access edition funded by the National Endowment for the Humanities

Every effort was made to obtain permission to reproduce material in this book. If any proper acknowledgment has not been included here, we encourage copyright holders to notify the publisher.

Lines from Adrienne Rich, “Origins and History of Consciousness,” from The Dream of a Common Language: Poems 1974–1977 (New York: W. W. Norton and Company, 1978) are reprinted with permission; copyright 1978 by W. W. Norton and Company; all rights reserved.

Excerpt from Janice Gould (Koyangk’auwi Maidu), “We Exist,” in Beneath My Heart (New York: Firebrand Books, 1990) is reprinted with permission.

Manny Loley, “butterfly man tells a story,” Poetry 220, no. 4 (July/August 2022): 304–5 is reprinted with permission of the author.

Portions of chapter 3 were published in an earlier form in “Seeing the Four Sacred Mountains: Mapping, Landscape, and Navajo Sovereignty,” European Journal of American Culture 39, no. 1, “The Cartographic Imagination: Mapping in American Art and Literature since 1945” (March 2020): 63–81. Portions of chapter 4 were published in an earlier form in “‘We Sure Didn’t Know’: Laura Gilpin, Mary Ann Nakai, and the Cold War Politics of Loss on the Navajo Nation,” in Authenticity in North America: Place, Tourism, Heritage, Culture, and the Popular Imagination, edited by Jane Lovell and Sam Hitchmough (London: Routledge, 2019), 75–95; reprinted with permission of the Licensor through PLSclear. Portions of chapter 5 were published in an earlier form in “The Visual Politics of Queerness on the Navajo Nation,” in The Routledge Companion to Art and Activism in the Twenty-First Century, edited by Mey-Yen Moriuchi and Lesley Shipley (New York: Routledge, 2023), 125–39; reprinted with permission of the Licensor through PLSclear.

Copyright 2024 by the Regents of the University of Minnesota

Good Pictures Are a Strong Weapon: Laura Gilpin, Queerness, and Navajo Sovereignty is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0).
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