Beth Norwood
University of New Mexico, Art & Art History, Graduate Student
- University of Central Arkansas, Art, Adjunctadd
- Art History, West Mexico (Archaeology), Mesoamercia, Ancient Maya, Mesoamerican archaeoastronomy, the archaeological site of Copan, Honduras, Lagunillas, and 32 moreNayarit, Burial Customs, Archaeology of death and burial, Shaft tombs, Death and Burial (Archaeology), Ceramics (Archaeology), Anthropology of Death, Mortuary archaeology, Pre-Columbian Art, Anthropomorphic Figurines, Archaeology of Ancestors, History of Mesoamerica, Teuchitlan, Mississippian Societies (Archaeology), Tarahumara, Raramuri, Archaeology, Artifact Authentication, Morturary Art, Pre contact MesoAmerica, West Mexico, Interactive Art, Public Art, Site Specific Public Art, Funerary Practices, Pre-Columbian, Inca, Andes, Peru, South America, Archaeology, Anthropology, Andean Archaeology, South America (Archaeology), Anthropology Of Art, Material Culture Studies, Funeral Practices, and Robert Pogue Harrisonedit
- I am a PhD candidate in Art History at the University of New Mexico. My research focuses on Late Formative and Early Classic Western Mexico. My dissertation “Narrative Ceramics and Networks of Practice: West Mexican Visual Traditions in the Late Formative-Early Classic Periods,” will focus on the issue of visual communication, and the role West Mexican ce... moreI am a PhD candidate in Art History at the University of New Mexico. My research focuses on Late Formative and Early Classic Western Mexico. My dissertation “Narrative Ceramics and Networks of Practice: West Mexican Visual Traditions in the Late Formative-Early Classic Periods,” will focus on the issue of visual communication, and the role West Mexican ceramic sculpture may have played in the expression of important cultural narratives and histories, as well as their use in performance and oral storytelling. By addressing the artistic corpus as an expression of a widely known set of social practices, I frame West Mexico as several communities linked through a network of practice in order to articulate the ways in which this long-lived, widely distributed visual system operated on multiple social and ideological levels.edit
Research Interests: Archaeology, Art History, Ritual, Central America and Mexico, Mesoamerican Archaeology, and 15 moreCulture, Funerary Archaeology, Portraiture, Body Modification Studies, Body Art, Mortuary archaeology, Tradition, Nayarit, Shaft tombs, Teuchitlan, Mortuary Practices, Burial Customs, Precolumbian Art, Death and Burial Archaeology, and Lagunillas
Research Interests: Archaeology, Art History, Ritual, Central America and Mexico, Mesoamerican Archaeology, and 15 moreCulture, Funerary Archaeology, Portraiture, Body Modification Studies, Body Art, Mortuary archaeology, Tradition, Nayarit, Shaft tombs, Teuchitlan, Mortuary Practices, Burial Customs, Precolumbian Art, Death and Burial Archaeology, and Lagunillas
Research Interests: Archaeology, Art History, Ritual, Central America and Mexico, Mesoamerican Archaeology, and 23 moreIdentity (Culture), Culture, Funerary Archaeology, Portraiture, Body Modification Studies, Death and Burial (Archaeology), Pre-Columbian Art, Ceramics (Archaeology), Body Art, Ancestors (Anthropology Of Religion), West Mexico (Archaeology), Mortuary archaeology, Tradition, Nayarit, Shaft tombs, Teuchitlan, Pre-Columbian Archaeology, Mortuary Practices, Death, burial, and concepts of the afterlife, Burial Customs, Precolumbian Art, Archaeology, history, western Mexico, and Lagunillas
This chapter explores the concept of portraiture in West Mexican ceramic effigies, particularly Lagunillas Style E figures (Figures 1 and 2). In scholarship on ancient West Mexican figures, those of the Lagunillas style, along with other... more
This chapter explores the concept of portraiture in West Mexican ceramic effigies, particularly
Lagunillas Style E figures (Figures 1 and 2). In scholarship on ancient West Mexican
figures, those of the Lagunillas style, along with other West Mexican ceramic styles,
have been casually described as portraits. Despite this claim, scholars have yet to make a
compelling argument affirming that West Mexican ceramic effigies do indeed represent
a form of portraiture. This chapter will do just that, arguing that Lagunillas Style E figures
represent a highly stylized form of portraiture that relies on the depiction of key features,
especially adornment, in order to communicate the identity of the subject.
Lagunillas Style E figures (Figures 1 and 2). In scholarship on ancient West Mexican
figures, those of the Lagunillas style, along with other West Mexican ceramic styles,
have been casually described as portraits. Despite this claim, scholars have yet to make a
compelling argument affirming that West Mexican ceramic effigies do indeed represent
a form of portraiture. This chapter will do just that, arguing that Lagunillas Style E figures
represent a highly stylized form of portraiture that relies on the depiction of key features,
especially adornment, in order to communicate the identity of the subject.