Books published by Museum of New Mexico Press

Ollie Owl and Uni Unicorn bravely face three guardians of the Dark Forest as they seek Jackie Jackalope, who ran away from Wisdom School after being bullied. Includes activities.

This book tells the story of Art1, a computer program developed in 1968 at the University of New Mexico by electrical engineer Richard Williams with the encouragement of art department chair and renowned kinetic artist Charles Mattox, who wanted to make UNM a center of high-tech creativity. In a wider sense, Art1 was an attempt to bridge the cultural divide between art and science. Artists on the one hand were working in avant-garde modes beyond the comprehension of most people, just as scientists were using ever more arcane theories to describe the universe; the notion of a shared common culture that could draw the two together seemed remote in the modern age. UNM art faculty member Frederick Hammersley took a strong interest in Art1 and in two years made more than 150 works using it. The book features 50 illustrations by Hammersley, Charles Mattox, Katherine Nash, and James Hill and interviews with Williams and Hill. The story of Art1 and its role in early digital creativity documents for the first time its far-reaching impact.

This book is a sci-fi artistic creation from the mind of internationally recognized photographer and multimedia artist Patrick Nagatani (1945-2017).

Highlights the drama that unfolded for young nineteenth-century European Jewish immigrants who built on their cultural and social relationships to become successful citizens.

Millicent Rogers assembled a stellar collection of Navajo, Zuni, Hopi, and Pueblo jewelry during the late 1940s and early 1950s, creating the basis of Taos's Millicent Rogers Museum.

Tramp art describes a particular type of wood carving practiced in the United States and Europe between the 1880s and 1940s in which discarded cigar boxes and fruit crates were notched and layered to make a variety of domestic objects. These were primarily boxes and frames in addition to small private altars, crosses, wall pockets, clock cases, plant stands, and even furniture. Whittling objects such as chains and ball-in-cage whimsies was a common hobby -- including among rail-riding hobos -- and for many years tramp art was believed to have been made by these itinerants as well. Although this notion has been widely dispelled, the name has stuck. In recent years efforts have been made to identify makers by name and reveal their stories. While some examples of tramp art may be attributed to itinerants, this carving style was more commonly a practice of working-class men creating functional objects for their households. The book presents over one hundred and fifty tramp art objects collected mainly from the United States and also including pieces from France, Germany, Switzerland, Scandinavia, Canada, Mexico, and Brazil -- demonstrating the far reach this art form has had. It includes works by contemporary artists, thus establishing tramp art as an ongoing folk art form rather than a vestige of the past. The pieces reproduced here reveal an artistic and intricate sensibility applied to each handcrafted piece. Essays consider assumptions about tramp art related to class, quality, and the anonymity of its makers and examine this practice through the lens of home and family while tracing its relationship to the tobacco industry. The book will cultivate an appreciation of an art form that is as thought-provoking as it is enduring.

This non-traditional New Mexico cookbook has been a bestseller since it was first published a decade ago. B&Bs from across New Mexico shared their favourite recipes including Lavender Pound Cake, Bread Pudding with Rum Sauce, Peach Frangipane Tart, Maggie''s Wicked Apple Margarita, Native American Stew, Nana Banana Bread, Cactus Quiche, Chocolate Cherry Muffins and Cimarron''s Trail Cookies, among others.

This keepsake New Mexico cookbook takes its name from Adela Amador''s much-loved column in New Mexico Magazine. Adela''s recollections of meals prepared for family and friends over the years, many for New Mexico holidays, are accompanied by dozens of receipts. The volume is organized seasonally and includes charming illustrations and a glossary of Spanish food names and terms.

Each August, one hundred thousand people attend Indian Market in Santa Fe, New Mexico, the nation's largest and most anticipated Native arts event. One thousand artists, representing 160 tribes, nations, and villages from the United States and Canada, proudly display and sell their works of art, ranging from pottery and basketry to contemporary paintings and sculptures. The history of Indian Market as related in this new publication is the story of Indian cultural arts in the twentieth century beginning with Edgar L. Hewett and the founding of the Museum of New Mexico in Santa Fe in 1909. At the turn of the last century, the notion of Indian art as art in its own right and not ethnography was a foreign concept. With the arrival of the railroad and tourism in New Mexico, two thousand years of utilitarian Pueblo pottery tradition gave way to a curio trade intended for visitors to the area. The curators and archaeologists at the Museum of New Mexico began to collect prehistoric and historic pottery and encouraged potters to make pottery modeled on traditional ideas thought to represent authentic culture. Maria and Julian Martinez countered the idea that art was a matter of studying the past when in 1922, at the first "Indian Fair,"they introduced their revolutionary Black-on-black pottery. Bruce Bernstein links these early developments to Indian Market's ninety-year relationship with Native arts, cultural movements, historical events, and the ever-evolving creativity of Native artists to shape their market.

For the past three decades Eric Renner and Nancy Spencer have exerted a defining influence on the reemergence of pinhole photography through their publication Pinhole Journal and in building the world's most extensive collection of contemporary pinhole art from thirty-five countries. Presented here are two hundred images representing the collection in its diversity, experimentation, and essential mystery that define pinhole photography. Pinhole photographs were the first experimental images with the birth of the camera but the process was superseded by the modern camera and fell into obscurity. Who is it that sees, and whose gaze is recorded? In pinhole it is the camera object that looks but the artist that sees, thus accounting for the considerable mystery and poetry that is pinhole photography.