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Narratives of Celilo Falls, 1805-2021
Bates College SCARAB Honors Theses Capstone Projects 5-2021 Stories from the Flood: Narratives of Celilo Falls, 1805-2021 Maximilian LeGrand Friedenwald-Fishman Bates College, [email protected] Follow this and additional works at: https://scarab.bates.edu/honorstheses Recommended Citation Friedenwald-Fishman, Maximilian LeGrand, "Stories from the Flood: Narratives of Celilo Falls, 1805-2021" (2021). Honors Theses. 366. https://scarab.bates.edu/honorstheses/366 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Stories from the Flood: Narratives of Celilo Falls, 1805-2021 An Honors Thesis Presented to The Faculty of the Department of History Bates College In partial fulfillment of the requirements for the Degree of Bachelor of Arts By Maximilian Friedenwald-Fishman Lewiston, Maine May 5, 2021 1 Acknowledgements First and foremost, I would like to thank Professor Andrew Baker, the advisor for this thesis, for all of his invaluable input and support throughout this process. I am beyond grateful for his close readings, detailed feedback, thoughtful insight, and words of encouragement. I would also like to thank the Bates Department of History as a whole for providing me the foundation to be able to research and write this project. Specifically, I want to thank Professor Patrick Otim, for inspiring me to become a history major and Professor Joseph Hall, for providing me with key sources and whose class, “Native American History,” made me ask the questions that eventually led me to my topic. -
The Iconography of Oregon's Twentieth-Century Utopian Myth
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 5-3-1995 From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth Jeffry Lloyd Uecker Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons Let us know how access to this document benefits ou.y Recommended Citation Uecker, Jeffry Lloyd, "From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth- Century Utopian Myth" (1995). Dissertations and Theses. Paper 5026. https://doi.org/10.15760/etd.6902 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THESIS APPROVAL The abstract and thesis of Jeffry Lloyd Uecker for the Master of Arts in History were presented May 3, 1995, and accepted by the thesis committee and the department. COMMITTEE APPROVALS: Lisa Andrus-Rivera Representative of the Office of Graduate Studie DEPARTMENT APPROVAL: David A. Johns Department of .L. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ACCEPTED FOR PORTLAND STATE UNIVERSITY BY THE LIBRARY By ont.f!G ~4= .,,K/9S- ABSTRACT An abstract of the thesis of Jeffry Lloyd Uecker for the Master of Arts in History presented May 3, 1995. Title: From Promised Land to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. -
Rick Bartow Born December 16, 1946, Newport, OR Deceased April 2, 2016, Newport, OR Education 1969 B.A
FROELICK GALLERY Rick Bartow Born December 16, 1946, Newport, OR Deceased April 2, 2016, Newport, OR Education 1969 B.A. Secondary Art Education—Western Oregon State College, Monmouth, Oregon Tribal Affiliation Wiyot, Mad River Band, Northern California Solo Exhibitions 2017 Tot Blumen, Froelick Gallery, OR 2016 Yale University Art Gallery, New Haven, CT Sparrow Song, Froelick Gallery, OR Chiaroscuro Gallery, Santa Fe, NM Selected Works, Stonington Gallery, Seattle, WA 2015 Rick Bartow: From A Private Collection, Little Gallery, Kidder Hall, Oregon State University, Corvallis, OR Things You Know But Cannot Explain, Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR; traveling to: Gilcrease Museum, Tulsa, OK Boise Art Museum, Boise, ID North Dakota Museum of Art, Grand Forks, ND Shingoethe Center, Aurora University, Aurora, IL IAIA Museum of Contemporary Native Arts, Autry Museum of the American West, Santa Fe, NM Los Angeles, CA Washington State University Museum of Art, The High Desert Museum, Bend, OR Pullman, WA UC Davis, Gorman Museum, Davis, CA Heard Museum, Phoenix, AZ Horizon with Crow, Froelick Gallery, Portland, OR Prints, Schrager & Clarke Gallery, Eugene, OR 2014 Selected Works, Chiaroscuro Contemporary, Santa Fe, NM Rick Bartow: Seeing Through the Eyes of the Ancestors, Gretchen Schuette Gallery, Chemeketa Community College, Salem, OR 2013 Bird Wings, Froelick Gallery, Portland, OR Origin of Song, Stonington Gallery, Seattle, WA 2012 Down the Hill Home, Humboldt State University, Arcata, CA Dog’s Journey, The -
Art by Women Celebrating the Centennial of the 19Th Amendment
Art by Women Celebrating the Centennial of the 19th Amendment Maryhill Museum of Art Art by Women Celebrating the Centennial of the 19th Amendment This online exhibition occurs at the intersection of three historical phenomena. The creation of a display as a virtual entity acknowledges the realities of life during a pandemic. The presentation also commemorates the passage of the 19th Amendment to the United States Constitution, although that is not as straightforward and celebratory a moment as may be expected. The centennial recalls an important milestone on the road to universal suffrage, but it is useful to remember who did and did not benefit from the legislation. Finally, the exhibition acknowledges the truism that art by women has historically been overlooked and underappreciated by many art historians, critics, and museums. Voting rights as imagined by the framers of the U.S. Constitution left election control to individual states. This led to uneven and unfair voting practices being implemented across the country and many of the initial rules favored white men, especially those who owned property. By 1850, suffrage had become a key issue for women’s rights organizations. Beginning in 1870, a handful of western states and territories—Wyoming, Colorado, Utah, Idaho, and Washington—legislated in favor of women’s suffrage, but some of those efforts were eventually curtailed. Nevertheless, Theodore Roosevelt’s Progressive Party adopted women's suffrage as a party plank in 1912, and an ongoing groundswell of support led to Congress passing the 19th Amendment during spring 1919: “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.” In August 1920, Tennessee became the 36th state to ratify the legislation and the amendment reached the necessary benchmark of approval by three- quarters of the states. -
Visitor's Guide
VISITOR’S GUIDE September 9, 2017 through February 11, 2018 All quotes by Louise Erdrich from her novel The Round House “From the government’s point of view, the only way you can tell an Indian is an Indian is to look at that person’s history. There must be ancestors from way back who signed some document or were recorded as Indians by the U.S. government, someone identi- fied as a member of a tribe. And then after that you have to look at that person’s blood quantum, how much Indian blood they’ve got that belongs to one tribe. In most cases, the government will call the person an Indian if their blood is one quarter—it usually has to be from one tribe. But that tribe has also got to be federally recognized. In other words, being an Indian is in some ways a tangle of red tape. On the other hand, Indians know other Indi- ans without the need for a federal pedigree, and this knowledge—like love, sex, or having or not having a baby—has nothing to do with government.” p. 30. Ka’ila Farrell-Smith painted this work when she became a member of a federally recognized tribe. She presents her enrollment number on the blan- ket’s red stripe. Describe her painted response to this experience. How does tribal enrollment affect the story of The Round House? What are you a member of, and do your memberships define Ka’ila Farrell-Smith your identity? Enrollment, 2014 Oil on canvas “During the old days when Indians could not prac- tice their religion—well, actually not such old days: pre-1978—the round house had been used for ceremonies.” p. -
Oregon's Digital Collections: Environmental Scan 1 of 225 Dcplumer Associates, Sept
OREGON’S DIGITAL COLLECTIONS PART I: ENVIRONMENTAL SCAN OF EXISTING PROJECTS AND MODELS FOR STATEWIDE COLLABORATION PREPARED FOR: OREGON STATE LIBRARY LIBRARY DEVELOPMENT SERVICES 250 WINTER ST. NE SALEM, OREGON 97301-3950 PREPARED BY: DANIELLE CUNNIFF PLUMER, PH.D., M.S.I.S. DCPLUMER ASSOCIATES, L.L.C. 4500 WILLIAMS DR., SUITE 212-414 GEORGETOWN, TX 78633 WWW.DCPLUMER.COM SEPTEMBER 25, 2013 TABLE OF CONTENTS Table of Contents ............................................................................................................................................................... 1 Introduction ......................................................................................................................................................................... 3 Purpose and Background ........................................................................................................................................... 3 Note on Terminology ................................................................................................................................................. 3 Oregon Library Systems and Technology Act Five-Year Plan ............................................................................ 4 Goal #1: Provide access to information resources and library services ......................................................................... 5 Goal #2: Use technology to increase capacity to provide library services and expand access ......................................... 6 Goal #3: Develop a culture in libraries -
Funding Native Arts Empowering the Center of Tribal Life
FUNDING NATIVE ARTS EMPOWERING THE CENTER OF TRIBAL LIFE POTLATCH FUND SEPTEMBER 2005 ACKNOWLEDGEMENTS Potlatch Fund acknowledges the Ford Foundation for providing the funding to support our Potlatch Artists project and this report. We especially thank Elizabeth Theobald Richards, a program officer with Ford who understands the significance of our work with Native artists and who invited the Potlatch Fund to submit a proposal. We also thank the many people who contributed to the development of the report. Liz Woody (Warm Springs-Wasco-Watlala/Navajo) and Craig Jacobson with Ecotrust’s Native Programs played invaluable roles as principal researchers and writers. They worked closely with Kathy Becker, a Potlatch Fund consultant who managed the project and joined Liz and Craig as a principal writer and editor. Finally, we acknowledge members of our technical assistance team who provide valuable training to Native artists and arts organizations, mem- bers of our board of directors who generously share their time and wisdom, and our growing list of funders. Potlatch Fund is committed to empowering Northwest Native artists and we are inspired by the incredible people, communities, and tribes we have the honor to work with and serve. Many people contributed to the research, writing, and images in this report. We look forward to sharing it with others to expand support for Native artists. Questions about the report should be directed to the Potlatch Fund office in Seattle at 206-624-6076; [email protected]. EXECUTIVE SUMMARY Native American art in the Northwest has always played a central role in all facets of tribal life. -
VIEW Art by Women Celebrating the Centennial of the 19Th Amendment
Art by Women Celebrating the Centennial of the 19th Amendment Maryhill Museum of Art Art by Women Celebrating the Centennial of the 19th Amendment This online exhibition occurs at the intersection of three historical phenomena. The creation of a display as a virtual entity acknowledges the realities of life during a pandemic. The presentation also commemorates the passage of the 19th Amendment to the United States Constitution, although that is not as straightforward and celebratory a moment as may be expected. The centennial recalls an important milestone on the road to universal suffrage, but it is useful to remember who did and did not benefit from the legislation. Finally, the exhibition acknowledges the truism that art by women has historically been overlooked and underappreciated by many art historians, critics, and museums. Voting rights as imagined by the framers of the U.S. Constitution left election control to individual states. This led to uneven and unfair voting practices being implemented across the country and many of the initial rules favored white men, especially those who owned property. By 1850, suffrage had become a key issue for women’s rights organizations. Beginning in 1870, a handful of western states and territories—Wyoming, Colorado, Utah, Idaho, and Washington—legislated in favor of women’s suffrage, but some of those efforts were eventually curtailed. Nevertheless, Theodore Roosevelt’s Progressive Party adopted women's suffrage as a party plank in 1912, and an ongoing groundswell of support led to Congress passing the 19th Amendment during spring 1919: “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.” In August 1920, Tennessee became the 36th state to ratify the legislation and the amendment reached the necessary benchmark of approval by three- quarters of the states. -
April 2017 Introduction
April 2017 Introduction The Regional Arts & Culture Council (RACC) established the Design Team Roster as an on-line resource that can be used by anyone seeking an artist for a project – community groups, business or property owners, schools, architecture firms, private developers or other public art programs. The Roster provides a pool of highly qualified artists, and increases the efficiency of the selection process. The intent of the roster is to provide users a range of artistic styles from which to select an artist that fits the needs of a particular project -- creating an art plan for a site; collaborating on early design along with having a budget to create artwork(s); identifying opportunities for other artists to provide design elements within the construction budget and/or complemented with public art funds; or, for creating a distinctive artwork for a site. These artist have demonstrated skills, experience and interest in commissioned projects. As you review this roster, please read the artists’ statement and view details of up to three past projects to get a feel for their work. You are strongly encouraged to visit the artists’ websites and social media outlets to further explore their practice. Please note that there are two different PDF versions you can view/download with the larger PDF containing artists’ resumes. Questions? Contact Public Art Managers: Kristin Calhoun [email protected] | 503.823.5101 Peggy Kendellen [email protected] | 503.823.4196 Cover artists clockwise from upper left: Anne Marie Karlsen, Lawndale, CA, 2008; Adam Kuby, Aberdeen, WA, 2013; Norie Sato, San Francisco, CA, 2011; Napoleon Jones-Henderson, Bruce C. -
The Lewis and Clark Expedition in Oregon Art
OHS neg., OrHi -a Harmon Atkins MacNeil, The Coming of the White Man, . Bronze, approximately ft. OHQWashington vol. Park, 103, Portland, no. 4 Oregon. Jeffry Uecker Picturing the Corps of Discovery The Lewis and Clark Expedition in Oregon Art he threat of rain loomed that cloudy October afternoon in as an eager crowd filled a forested knoll in Portland’s City Park. Embarking from carriages or scrambling up the steep hill on foot, the group of well-decked dignitaries, proud pio- Tneers, and generally curious citizens assembled to dedicate Hermon Atkins MacNeil’s bronze sculpture, The Coming of the White Man. A cornerstone in the city’s nascent tradition of outdoor art, the statue of Chief Multnomah and his companion looking toward the pass through which the first white explor- ers floated down the Columbia was hailed by Mayor George Williams as “not the Indians of poetry or romance, but real Indians as they were when the star of empire burst upon their vision.” MacNeil’s proud duo began their watch to the east that day from what is now Washington Park. “[They] did not know,” declared one dedicatory speech, “that before civilization’s march barbarism falls, as disappears the dew before the rising sun.” The lesson was clear: Lewis and Clark had brought civilization to the region. The subject was not new. Joshua Shaw’s canvas, also titled The Coming of the White Man, shows cowering shore-bound Natives shielding their eyes from an approaching ship engulfed in the seemingly divine light of a rising sun. Closer to home, the Portland Hotel’s writing room sported a bronze frieze featuring chapters from local history, including a segment described as “Indians Watching the Landing of the Lewis and Clark Expedition.” Today, the scene may court the question who “discovered” whom, but for nineteenth- century Americans there was no doubt.