2009–2010 Programs and Services Guide “The [Visiting Artist Experience] Has Introduced Me and My Work to Greater Possibilities
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Marcus Amerman Resume
MARCUS J. AMERMAN PO Box 22701 Santa Fe, NM 87502 505.954.4136 Biography Marcus Amerman is an enrolled member of the Choctaw Nation of Oklahoma. He was born in Phoenix, AZ and grew up in the Pacific Northwest before settling in Santa Fe, NM. He received a BA in Fine Art at Whitman College in Walla Walla, WA and took additional art courses at the Institute of American Indian Arts in Santa Fe, NM. He credits the Plateau region and its wealth of talented bead artists with introducing him to the “traditional” art form of beadwork. He quickly made this art form his own, however, by creating a new genre of bead artistry in which beads are stitched down, one by one, to create realistic, pictorial images, not just large color fields or patterns. Amerman draws upon a wide range of influences to create strikingly original works that reflect his background of having lived in three different regions with strong artistic traditions, his academic introduction to pop art and social commentary and his inventive exploration of the potential artistic forms and expressions using beads. Although he is best known for his bead art, he is also a multimedia artist, painter, performance artist (his character “Buffalo Man” can be seen on the cover of the book Indian Country), fashion designer, and glass artist, as well. SELECTED EXHIBITIONS 2010 — Destination X, Museum of World Culture, Göteborg, Sweden 2010 — Pop! Popular Culture in American Indian Art, Heard Museum, Phoenix, AZ 2009 — A Song for the Horse Nation, National Museum of the American Indian, New York City, NY 2009 — Looking Forward, Traver Gallery, Tacoma, WA 2009 — Pictorial Beading the Nez Perce Way, Lewis and Clark State College, Lewiston, ID 2008 — Comic Art Indigene, Museum of Indian Arts and Culture, Santa Fe, NM 2008 — Voices from the Mound: Contemporary Choctaw Artists Institute of American Indian Arts, Santa Fe, NM 2007 — Looking Indian (group exhibition), Untitled Artspace, Oklahoma City, OK Current Realities: A Dialogue with the People, IAO Gallery, Oklahoma City, OK 2006 — Indigenous Motivations, Natl. -
Native American Sacred Sites and the Department of Defense
Native American Sacred Sites and the Department of Defense Item Type Report Authors Deloria Jr., Vine; Stoffle, Richard W. Publisher Bureau of Applied Research in Anthropology, University of Arizona Download date 01/10/2021 17:48:08 Link to Item http://hdl.handle.net/10150/272997 NATIVE AMERICAN SACRED SITES AND THE DEPARTMENT OF DEFENSE Edited by Vine Deloria, Jr. The University of Colorado and Richard W. Stoffle The University of Arizona® Submitted to United States Department of Defense Washington, D. C. June 1998 DISCLAIMER The views and opinions expressed here are solely those of the authors and do not necessarily represent the views of the U. S. Department of Defense, the U.S. Department of the Interior, or any other Federal or state agency, or any Tribal government. Cover Photo: Fajada Butte, Chaco Culture National Historic Park, New Mexico NATIVE AMERICAN SACRED SITES AND THE DEPARTMENT OF DEFENSE Edited by Vine Deloria, Jr. The University of Colorado and Richard W. Stoffle The University of Arizona® Report Sponsored by The Legacy Resource Management Program United States Department of Defense Washington, D. C. with the assistance of Archeology and Ethnography Program United States National Park Service Washington, D. C. June 1998 TABLE OF CONTENTS List of Tables vii List of Figures ix List of Appendices x Acknowledgments xii Foreward xiv CHAPTER ONE INTRODUCTION 1 Scope of This Report 1 Overview of Native American Issues 3 History and Background of the Legacy Resources Management Program 4 Legal Basis for Interactions Regarding -
Native American Fashion: Inspiration, Appropriation, and Cultural Identity
NativeAmerican Fashion: Inspiration, Appropriation, and Cultural Identity Saturday, April 22, 2017 • 10:30 a.m. to 5:00 p.m. Diker Pavilion, National Museum of the American Indian Alexander Hamilton U.S. Custom House One Bowling Green • New York City Cosponsored by the Fashion Institute of Technology, State University of New York, Native/American Fashion: Inspiration, Appropriation, and Cultural Identity explores fashion as a creative endeavor and an expression of cultural identity, the history of Native fashion, issues of problematic cultural appropriation in the field, and examples of creative collaborations and best practices between Native designers and fashion brands. The program features distinguished scholars, fashion designers, and editors, including Anna Blume, Daniel James Cole, Joe Horse Capture, Adrienne Keene, Karen Kramer, Jessica Metcalfe, Douglas Miles, Lynette Nylander, Virgil Ortiz, Sherry Farrell Racette, Susan Scafidi, and Timothy Shannon. Moderated by Kathleen Ash-Milby, Eileen Karp, and Amy Werbel. Reception in the Rotunda, directly after the symposium. Live webcast at: AmericanIndian.si.edu/multimedia/webcasts Smithsonian National Museum of the American Indian NativeAmerican Inspiration, Appropriation, Fashion: and Cultural Identity PROGRAM 10:30 a.m. Welcome Kevin Gover, National Museum of the American Indian Ronald Milon, Fashion Institute of Technology, State University of New York 10:35 a.m. Opening Remarks Kathleen Ash-Milby, National Museum of the American Indian 10:45 a.m. MOBILITY AND CULTURAL IDENTITY THROUGH -
Native Art, Native Voices a Resource for K–12 Learners Dear Educator: Native Art, Native Voices: a Resource for K–12 of Art
Native Art, Native Voices A Resource for K–12 Learners Dear Educator: Native Art, Native Voices: A Resource for K–12 of art. Designed for learners in grades K–12, the Learners is designed to support the integration lessons originate from James Autio (Ojibwe); Gordon of Native voices and art into your curriculum. The Coons (Lac Courte Oreilles Band of Lake Superior resource includes four types of content: Chippewa Indians of Wisconsin, Chippewa/Ojibwa, Ottawa); Dyani White Hawk (Sičháŋğu Lakȟóta 1. Artist interviews [Brulé]); Marlena Myles (Spirit Lake Dakota, Mohegan, 2. Essays about artworks in Mia’s collection and Muscogee); and Margaret Swenson, a visual arts questions to support deep looking, critical educator and collaborator with Heid Erdrich (Ojibwe thinking, and discussion enrolled at Turtle Mountain) in the creation of a Native artist residency program at Kenwood Elementary 3. Art lessons developed by and with Minnesota School in Minneapolis. Native artists 4. Reading selections for students to help provide Video Interviews environmental context for the artworks. Video interviews with eight Native artists allow your This resource includes information about Native students to learn about the artists’ lives in their own cultures both past and present and supports words and to view their art and other artworks in Mia’s Minnesota state standards for visual arts and Native art galleries. View multiple segments by indi- social studies/U.S. history. vidual artists, or mix and match to consider different artists’ responses to similar questions. Each video is less than 8 minutes. Discussion questions follow the Essays & Discussion Questions videos to guide your students’ exploration of the rich Marlena Myles (Spirit Lake Dakota, Mohegan, interview content. -
Tribal Lawsuit: a Matter of Respect and Principle
October 2010 www.gilariver.org/news Vol. 13 No 10 Serving all seven districts of the Gila River Indian Community Change Service Requested Sacaton, AZ 85147 Box 459 P.O. Indian News Gila River Tribal Lawsuit: A Matter of Respect and Principle By GRIC Gov. William Rhodes There’s no literal translation casino, filed the week after. Out of in English that does justice to the respect, I believe that I must ex- tribal word himdag, As Governor plain the reasons why Commu- of the Gila River Indian Commu- nity Council and myself so nity, himdag guides my every de- pointedly disagrees with Washing- cision, my every action. Himdag, ton and with TON’s plan to build a as passed down by our elders casino on land they secretly across hundreds of years, teaches bought in Glendale, 160 miles us respect for all things, including from their reservation headquar- the value of a promise, abiding by ters in Sells. My explanation can the law and concern for the wel- be summed up in a single sen- fare of others. tence. Respect as a guiding principle We believe the Tohono O’od- feels old-fashioned in the 21st ham Nation, with the assistance of century, but it exists all the same – the federal government, has disre- even when our community is com- spected the rule of law, the balance pelled to sign its name to a lawsuit so carefully struck among Indian STAN- PRESORTED Permit No. 25 U.S. Postage against the United States Depart- gaming tribes, our community, the Sacaton, AZ DARD ment of the Interior. -
Native Art in the Americas
NATIVENATIVE ARTISTS ART IN IN THE THE AMERICAS AMERICAS NATIONALNATIONAL MUSEUM MUSEUM OF OF THE THE AMERICAN AMERICAN INDIAN INDIAN NATIVE NATIVE ARTS ARTS PROGRAM: PROGRAM: THETHE FIRSTFIRST TEN YEARSYEARS NATIVE ARTISTS IN THE AMERICAS NATIONAL MUSEUM OF THE AMERICAN INDIAN NATIVE ARTS PROGRAM: THE FIRST TEN YEARS Introduction by Keevin Lewis. Essays and artwork by the artists. Edited by Jessica Welton. National Museum of the American Indian, Smithsonian Institution Washington, D.C., Suitland, Maryland, and New York Text and images 2007, Smithsonian. Photography credits:© pages 4 and 5, Maxwell MacKenzie; page 38, Katherine Fogden; page 78, Jessica Welton. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the Smithsonian Institution and the National Museum of the American Indian. Requests for permission to reproduce material from this work should be sent to: [email protected] For information about the Smithsonian National Museum of the American Indian, visit the museum’s website at http://www.nmai.si.edu/ The National Museum of the American Indian is committed to advancing knowledge and understanding of the Native cultures of the Western Hemisphere–past, present, and future– through partnership with Native peoples and others. The museum works to support the continuance of culture, traditional values, and transitions in contemporary Native life. TABLE OF CONTENTS Introduction............................................................................................4 The History of the Native Arts Program..............................................8 1996 Glory Tacheenie-Campoy.........................................................14 1999 Bernice Akamine...........................................................................18 Lisa Telford....................................................................................20 2000 Janet Marie Rogers........................... -
INDIGENOUS PERSPECTIVES on CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS and REPRESENTATION John Paul Rangel
University of New Mexico UNM Digital Repository Language, Literacy, and Sociocultural Studies ETDs Education ETDs 4-2-2013 INDIGENOUS PERSPECTIVES ON CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS AND REPRESENTATION John Paul Rangel Follow this and additional works at: https://digitalrepository.unm.edu/educ_llss_etds Recommended Citation Rangel, John Paul. "INDIGENOUS PERSPECTIVES ON CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS AND REPRESENTATION." (2013). https://digitalrepository.unm.edu/educ_llss_etds/37 This Dissertation is brought to you for free and open access by the Education ETDs at UNM Digital Repository. It has been accepted for inclusion in Language, Literacy, and Sociocultural Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i ii © 2012 Copyright by John Paul Rangel Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iii ACKNOWLEDGMENTS I would like to acknowledge Dr. Greg Cajete, my advisor and dissertation chair, for the encouragement and advice throughout the years of graduate studies. I am so grateful for his guidance, mentorship, professionalism and friendship that have had a profound impact on my understanding of Indigenous studies, education, and leadership. I also thank my committee members, Dr. Penny Pence, Dr. Anne Calhoun, and Dr. Nancy Marie Mithlo, for their valuable recommendations and insights pertaining to this study and their assistance in my professional development. To the members of the Native arts community and specifically the Native artists whose contributions to this study made it possible, I am grateful for all the conversations leading up to this project, the meals we shared and the issues you brought up. -
2021 Martinez CV
David Martínez (Akimel O’odham/Hia Ced O’odham/Mexican) American Indian Studies Arizona State University Discovery Hall 356 PO Box 874603 Tempe, AZ 85287-4603 Office: (480) 727-9818 Fax: (480) 965-2216 [email protected] Department web-site: https://americanindian.asu.edu/ ASU iSearch: https://isearch.asu.edu/profile/1099665 Academia.edu page: https://asu.academia.edu/DavidMart%C3%ADnez Education 1997 PhD, Philosophy, State University of New York at Stony Brook, Dissertation title: The Epic of Peace: Poetry as the Foundation of Philosophical Reflection, Edward S. Casey (director). 1993 MA, American Indian Studies, University of Arizona, Thesis title: The Epiphany of the Earth: An O’odham Environmental Ethic, Ofelia Zepeda (director). 1990 MA, Philosophy, State University of New York at Stony Brook. 1988 BA, Philosophy, University of Rhode Island Employment History 2007-Present Associate Professor (tenured 2011), American Indian Studies (Full Appointment), Arizona State University, Tempe Campus. Affiliated faculty with the School of Historical, Philosophical, and Religious Studies; and, the Center for Archaeology and Society. Fellow of the Institute for the Future of Innovation and Society. Website: https://isearch.asu.edu/profile/1099665 2000-2007 Assistant Professor, American Indian Studies (Full Appointment), American Studies (Adjunct), Chicano Studies (Adjunct) and Philosophy (Adjunct), University of Minnesota, Twin Cities Campus. 2003-2004 CIC Faculty Fellow, The Newberry Library, The D’Arcy McNickle Center for American Indian History. 1999-2000 One-Year-Only Visiting Instructor, Philosophy and Religious Studies, Mesa Community College. 1998-1999 Francis Berry Chair of Native American Studies, Verde Valley School (Sedona, Arizona) 1997-1998 Grant Writer, American Indian Studies, University of Arizona. -
Native Artists Helping Our People Endure
University of New Mexico UNM Digital Repository Architecture and Planning ETDs Electronic Theses and Dissertations 12-1-2011 Native Artists Helping Our People Endure (HOPE): A Social Capital Analysis of a Grassroots Art Initiative to Address Youth Suicide in an Indigenous Community Nathania Tsosie Follow this and additional works at: https://digitalrepository.unm.edu/arch_etds Part of the Architecture Commons Recommended Citation Tsosie, Nathania. "Native Artists Helping Our People Endure (HOPE): A Social Capital Analysis of a Grassroots Art Initiative to Address Youth Suicide in an Indigenous Community." (2011). https://digitalrepository.unm.edu/arch_etds/26 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Architecture and Planning ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Nathania Tsosie Candidate Community and Regional Planning Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Ted Jojola, PhD , Chairperson Claudia Isaac, PhD Tassy Parker, PhD, RN NATIVE ARTISTS HELPING OUR PEOPLE ENDURE (HOPE): A SOCIAL CAPITAL ANALYSIS OF A GRASSROOTS ART INITIATIVE TO ADDRESS YOUTH SUICIDE IN AN INDIGENOUS COMMUNITY BY NATHANIA TSOSIE MASTER OF COMMUNITY AND REGIONAL PLANNING, UNIVERSITY OF NEW MEXICO, 2011 BACHELOR OF SCIENCE THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Community and Regional Planning The University of New Mexico Albuquerque, New Mexico December, 2011 © 2011, Nathania Tsosie iii DEDICATION Dii naaltsoos’ dóó naanish ííshlaa’igí éí shimasani dóó shicheii bináh’ji’ bénááshnii’do. -
La Vie En Res Press Release
DOUGLAS MILES Douglas Miles and LivÁndrea Knoki, La Vie En Res, 2020, 13 x 19”, archival pigment ink print, edition of 15. August 13 – September 7, 2020 An online exhibition of photography-based media by Douglas Miles, whose work is rooted in Apache history and deeply engaged with the world of contemporary pop culture. We are thrilled to present an online exhibition with the photographic work of San Carlos Apache- Akimel O’odham artist Douglas Miles whose artistic work is rooted in Apache history and deeply engaged with the world of contemporary pop culture. Douglas Miles (b. 1963) is a multi-faceted artist working as a designer, filmmaker, muralist and photographer who blends Native history with political resistance. His work encourages reflection on how art can foster community-building and promote pride and well-being, especially among young Native people. The photographs in this online exhibition include portraits of Miles’ community of family and friends taken in San Carlos, Arizona, as well as the places Miles has traveled with his Apache Skateboards team in Utah, Navajo Nation, Los Angeles, Phoenix, AZ and other locations. The exhibition also includes images from the The Black Lives Matter protest in downtown Phoenix, Arizona in June and July of 2020. 1405 Paseo de Peralta, Santa Fe, New Mexico 87501 505-577-6708 [email protected] W W W . O B S C U R A G A L L E R Y. N E T Page 2 of 12 In coordination with what would have been the busiest month in Santa Fe known worldwide for the celebration of Native American art markets all throughout our city, we had been planning an exhibition of the exciting work of Miles for nearly a year. -
2013-2014 Annual Report
School for Advanced Research 2014 annual report INNOVATIVE SOCIAL SCIENCE AND NATIVE AMERICAN ART WORDS OPPORTUNITY SUPPORTWORKS THOUGHTS IMAGINATION HISTORYDISCOURSE RESEARCH TECHNIQUE ART IDEAS BOOKS COMMUNITY CULTURECREATIVIT Y DISCIPLINECRAFTS LEARNING FUN ADVENTURE SHARING RELATIONSHIPS he School for Advanced Research Thas supported innovative social science and Native American artistic creativity for more than a century. Since we began offering fellowships in 1972, we have funded the work of more than 345 SAR scholars and artists, among whose ranks are six MacArthur Fellows and eighteen Guggenheim Fellows. Please join us in Santa Fe for insightful lectures or a tour of the School’s historic campus. You can also follow the work of our resident scholars and Native American artists on our website at www.sarsf.org CONTENTS 3 President’s Message 4 Scholar Programs 9 Seminars 12 Indian Arts Research Center 18 SAR Press 20 Outreach and Education 22 The J. I. Staley and Linda S. Cordell Prizes 24 Benefactors 32 Looking Forward with President Michael Brown 36 Summary Financial Statement INTRODUCTION TO THE PRESIDENT Michael F. Brown This year SAR was pleased to welcome Dr. Michael F. Brown back to campus, this time as president. Brown was a resident scholar in 1988–1989, during which he completed a book on messianic politics in a Peruvian Indian rebellion of the 1960s. Over the years, he has also participated in two advanced seminars on campus and is the author of six books, most recently Upriver: The Turbulent Life and Times of an Amazonian People (Harvard University Press, 2014). His research has focused on issues as diverse as magic and ritual, indigenous intellectual property rights, the New Age movement, and the Native peoples of Amazonia. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through April/May 2017 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 21st century designs 21st century jewelry: the best of the 500 series.