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Historic Art-Deco in the Heart of the Dtphx Music Scene
HISTORIC ART-DECO IN THE HEART OF THE DTPHX MUSIC SCENE 747 W VAN BUREN ST, PHOENIX, AZ 85007 HISTORIC ART DECO BUILDING FOR SALE ABOUT THE PROPERTY 747 W. Van Buren is a 2,821 SF historic Art Deco/Art Moderne building superbly located adjacent to some of Phoenix’s most exciting music, entertainment and nightlife. Many of these venues, such as Crescent Ballroom, The Van Buren and The Valley Bar are located in historic adaptive-reuse projects, bringing a distinctive new personality to the area. 747 W. Van Buren brings a unique opportunity to add to the growing Downtown entertainment scene, with this rare sale. Located just West of the Southwest corner of Van Buren and 7th Avenue, the location is within walking distance of both the Grand Avenue Arts District and the Roosevelt Row Arts District, as well as the Downtown ASU Campus. These areas continue to grow, and with many new multifamily projects having just been completed or currently under construction, the area is dense with young urban professionals and recent graduates. As Downtown Phoenix continues to become a more walkable urban core filled with activity, restaurants, nightlife and tourism, this location is a rare opportunity to develop something extraordinary and make a permanent mark on the future of our city. INTERSECTION OF VAN BUREN AND CENTRAL AVENUE ART DECO DESIGN IN PHOENIX (1925-1940s) Art Deco is a style of visual arts, architecture and design that first appeared in France just before World War I. Some examples of Art Deco Architecture in Phoenix include The Luhrs Tower, The City-County Building, The Orpheum Theatre and The Arizona Biltmore Hotel. -
Visitor Guide &
Visitor Guide & Map WELCOME TO THE HEARD MUSEUM Your visit to the Heard Museum includes 12 exhibition galleries, free self-guided audio tours, outdoor sculpture gardens, a renowned café, a contemporary art gallery and trading-post style shopping, plus much more. MUSEUM & SHOP HOURS The Heard Museum is fully wheelchair accessible and 3RD PARTY ADVERTISING Tuesday to Sunday, 10 a.m. to 4 p.m. wheelchairs are available Closed Monday upon request. Doors open to members at 9:00 a.m. on Saturday and Sunday Assisted Listening System, video & audio transcripts Closed Easter Sunday, Independence Day, are all available to be Thanksgiving and Christmas. checked out at Admissions. Food & drink are not MUSEUM APP permitted in the galleries. Download the new Heard Museum mobile app. Features include museum maps, Photography is permitted without flash unless audio guides, exhibition information and otherwise posted. more! Available in the App Store & Google All backpacks and any bag Play, or scan this code with your phone's over 13” x 17” are not camera: permitted in the museum. Free lockers are available to store any items during your visit. No firearms or weapons are allowed on this property. cover: Leon Polk Smith, 1906-1996, Pursuant to A.R.S. § 4-229 Reflections-Red-Black, detail,1971. Acrylic on canvas, Overall: 35 1/2 x 35 1/2 in., Leon Polk Smith Foundation. Copyright for many works of art in the museum rests with the artists. The Heard Museum does not assume liability for violation of copyright law by a photographer (Title 17, United States Code). -
2017 Fernald Caroline Dissert
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By CAROLINE JEAN FERNALD Norman, Oklahoma 2017 THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. W. Jackson Rushing, III, Chair ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Kenneth Haltman ______________________________ Dr. David Wrobel © Copyright by CAROLINE JEAN FERNALD 2017 All Rights Reserved. For James Hagerty Acknowledgements I wish to extend my most sincere appreciation to my dissertation committee. Your influence on my work is, perhaps, apparent, but I am truly grateful for the guidance you have provided over the years. Your patience and support while I balanced the weight of a museum career and the completion of my dissertation meant the world! I would certainly be remiss to not thank the staff, trustees, and volunteers at the Millicent Rogers Museum for bearing with me while I finalized my degree. Your kind words, enthusiasm, and encouragement were greatly appreciated. I know I looked dreadfully tired in the weeks prior to the completion of my dissertation and I thank you for not mentioning it. The Couse Foundation, the University of Oklahoma’s Charles M. Russell Center, and the School of Visual Arts, likewise, deserve a heartfelt thank you for introducing me to the wonderful world of Taos and supporting my research. A very special thank you is needed for Ginnie and Ernie Leavitt, Carl Jones, and Byron Price. -
Robert Rankin Recalls His Work with the Kaw People and Their Language Linda Cumberland
Chapter 6 In his own words: Robert Rankin recalls his work with the Kaw people and their language Linda Cumberland In this edited transcript of a 2011 interview, Robert Rankin discusses his early train- ing in linguistics, his first contacts with the Kaw people and language, andhis subsequent lifelong involvement with the Kaw Language Project. Robert Rankin was fundamental to the development of the Kaw Language Project, an office maintained by the Kaw Nation at its headquarters in KawCity, Oklahoma. Under Bob’s supervision and with his tireless assistance, the KLP has produced an array of language materials, including teaching materials, a volume of KanzaKaw language texts (Kaaⁿze Weyaje — Kanza Reader; Kanza Language Project 2010) and a dictionary (Kaaⁿze Ie Wayaje: An Annotated Dictionary of Kaw (Kanza); Cumberland & Rankin 2012). In the early 2000s, he and then Language Director Justin McBride worked together to assemble a comprehensive collection of all Kaw language data known to exist and archived it at tribal headquarters. His work with the Kaw people and their native language extended over four decades and produced the only available sound recordings of the language, col- lected in the 1970s, from the last native speakers of the language. In December 2011, I, as Language Director at that time, sat down with Bob to ask him to recall those early days of his work and the speakers he worked with. This is an edited version of that conversation. Linda: It’s December first, 2011. I’m in the Kaw Nation Language Office with Dr. Robert Rankin to talk about his field experience in the 1970s, recording the last first-language native speakers of the Kaw language. -
Tribal and House District Boundaries
! ! ! ! ! ! ! ! Tribal Boundaries and Oklahoma House Boundaries ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 22 ! 18 ! ! ! ! ! ! ! 13 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 20 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 7 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Cimarron ! ! ! ! 14 ! ! ! ! ! ! ! ! ! ! ! ! ! ! 11 ! ! Texas ! ! Harper ! ! 4 ! ! ! ! ! ! ! ! ! ! ! n ! ! Beaver ! ! ! ! Ottawa ! ! ! ! Kay 9 o ! Woods ! ! ! ! Grant t ! 61 ! ! ! ! ! Nowata ! ! ! ! ! 37 ! ! ! g ! ! ! ! 7 ! 2 ! ! ! ! Alfalfa ! n ! ! ! ! ! 10 ! ! 27 i ! ! ! ! ! Craig ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! h ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 26 s ! ! Osage 25 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! a ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 6 ! ! ! ! ! ! ! ! ! ! ! ! ! ! Tribes ! ! ! ! ! ! ! ! ! ! ! ! ! ! 16 ! ! ! ! ! ! ! ! ! W ! ! ! ! ! ! ! ! 21 ! ! ! ! ! ! ! ! 58 ! ! ! ! ! ! ! ! ! ! ! ! ! ! 38 ! ! ! ! ! ! ! ! ! ! ! ! Tribes by House District ! 11 ! ! ! ! ! ! ! ! ! 1 Absentee Shawnee* ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Woodward ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 2 ! 36 ! Apache* ! ! ! 40 ! 17 ! ! ! 5 8 ! ! ! Rogers ! ! ! ! ! Garfield ! ! ! ! ! ! ! ! 1 40 ! ! ! ! ! 3 Noble ! ! ! Caddo* ! ! Major ! ! Delaware ! ! ! ! ! 4 ! ! ! ! ! Mayes ! ! Pawnee ! ! ! 19 ! ! 2 41 ! ! ! ! ! 9 ! 4 ! 74 ! ! ! Cherokee ! ! ! ! ! ! ! Ellis ! ! ! ! ! ! ! ! 41 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 72 ! ! ! ! ! 35 4 8 6 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 5 3 42 ! ! ! ! ! ! ! 77 -
Tribes of Oklahoma – Request for Information for Teachers (Oklahoma Academic Standards for Social Studies, OSDE)
Tribes of Oklahoma – Request for Information for Teachers (Oklahoma Academic Standards for Social Studies, OSDE) Tribe:_____Miami Tribe of Oklahoma___________________________ Tribal website(s): http//www.miamination.com_____________________ 1. Migration/movement/forced removal Oklahoma History C3 Standard 2.3 “Integrate visual and textual evidence to explain the reasons for and trace the migrations of Native American peoples including the Five Tribes into present-day Oklahoma, the Indian Removal Act of 1830, and tribal resistance to the forced relocations.” Oklahoma History C3 Standard 2.7 “Compare and contrast multiple points of view to evaluate the impact of the Dawes Act which resulted in the loss of tribal communal lands and2the redistribution of lands by various means including land runs as typified by the Unassigned Lands and the Cherokee Outlet, lotteries, and tribal allotments.” Original Homeland - the Great Lakes region where their homelands lie within the boundaries of the states of Indiana, Ohio, Illinois, lower Michigan and lower Wisconsin. Location in Oklahoma – Far northeastern Oklahoma in an area which includes the Eastern Shawnee, Seneca-Cayuga, Ottawa, Modoc, Peoria, Quapaw, and Wyandotte Tribes of Oklahoma In the Miami language they are myaamia – the downstream people. Today you will hear the name pronounced Miami, a derivation of their traditional name. They originate from the Great Lakes region where their homelands lie within the boundaries of the states of Indiana, Ohio, Illinois, lower Michigan and lower Wisconsin. They were among the nations exposed to early European contact, first through the Jesuit mission in the late 1600s, followed soon after by the French and British invasion and struggle for control of the Great Lakes region. -
The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission. -
Council Grove Santa Fe National Historic Trail National Park Service City of Council Grove Kansas State Historical Society
Council Grove Santa Fe National Historic Trail National Park Service City of Council Grove Kansas State Historical Society Conn became a community Conn Store leader, eventually serving as county clerk and treasurer For traders on the Santa Fe Trail after 1858, the Conn of the Town Company, a corporation that platted and Store was a welcome sight. At the store, traders heading sold town lots. In 1866, Conn east from Santa Fe to “the States” could purchase a meal sold his store to Shamleffer & James, who took the store or sleep in a bed for the first time after crossing 625 photo between 1867 and 1871. miles of prairie. For those heading southwest, Council These 1859 advertisements from the Kansas Grove was one of the last major stops for supplies and Press illustrate the rivalry between Council amenities before travelers trekked to New Mexico. Grove’s two most prominent merchants. Malcolm Conn’s stone store, built in 1858, rivaled the outfitting firm already run by Seth Hays on the opposite side of the street. Business was brisk, with Conn selling $24,000 in merchandise in one month in 1864. He traded with freighters, the government, locals, and Kaw (Kansa) Indians, on whose reservation Council Grove was located. In his stock were found every known One of the oldest buildings still standing in Council variety of goods for use on the frontier, Grove, the Conn Store provided accommodations, from ox yokes and repairs to cambric meals, and stables for freighters, in addition to retail operations. needles, from small boxes of pills to barrels of whiskey. -
Contemporary Hopi Arts and Crafts Hopi Pottery
Contemporary Hopi Arts and Crafts Hopi Pottery Hopi potters draw on a tradition going back centuries. The ancestors of the Hopi made gray utility ware as long ago as A.D. 700. The ancient potters developed black on white styles, black on red, and finally polychromes. In the late 1800s, outsiders began to appreciate the artistry of Hopi potters. This new demand sparked what has been called the revival period for Hopi pottery. The ancient potters passed their skills on to succeeding generations, many of whom are Hopi potters today. Although First Mesa is the most well-known for its pottery, Hopi potters can be found throughout the Hopi mesas. All authentic Hopi pottery is handmade by the coil and scrape technique. Hopi potters do not use a pottery wheel or make mold-poured pottery. They use the same techniques as their ancestors, hand-painting the designs with yucca leaf brushes and using natural materials provided by their environment. The pots are then fired in open firing areas. To learn about Hopi pottery, we suggest you read some of the fine books available about this ancient art. They are listed in our Recommended Reading List. History The Hopi call their ancestors, Hisatsinom, "People of Long Ago." The public and most anthropologists refer to these people as the "Anasazi," a word that has become popular in the general literature. Early Hisatsinom are called the Basketmaker people. The Basketmakers were a hunting and gathering people who became increasingly sedentary as their reliance on agriculture increased. As early as A.D. 700, the Basketmaker people began making plain pottery. -
Ganymede-Design-Group.Pdf
Ganymede Design Group Ganymede Design Group specializes in the conceptualization, development and design of interpretive environments such as those found in museums, galleries and cultural centers. Our work reflects the synergy of our team members’ combined professional expertise Gin the fields of interpretive exhibit planning, gallery design, graphic design, education and project management, as well as individual creative work in several arts disciplines. Although Ganymede was born as an independent Exhibit Design entity in 1995, our professional relationships with one another stretch back to the 1980s. How Do We Work? All Ganymede collaborations are the product of a working partnership with our clients. Effective communication between team members is elemental. Each project begins by defining the client’s audience and giving thoughtful consideration to the project objectives, be they aesthetic, informational, emotional or some combination of these and other fundamental factors. Every exhibit and every interior should become a uniquely personal experience for the visitor. Our projects are culturally-sensitive and user-friendly, and our focus is ALWAYS to create experiences that are elegant, intelligent, engaging and respectful of the individuals who will explore them. Kevin Winters 602.795.3911 [email protected] 1 Tovrea Castle at Carraro Heights, Phoenix Parks & Recreation and Historic Preservation Departments Phoenix, Arizona Isolated, enigmatic and iconic, Tovrea Castle sits silently on a hilltop overlooking central Arizona’s Valley of the Sun. Today, it is the centerpiece of a long-awaited city park and regional attraction. Interpretive exhibits conceived, designed and produced Iby Ganymede Design Group and fabricated by Construction Zone, LLC, added the crowning touches to a 20-year restoration process that allowed the City of Phoenix to open the doors to guests during Arizona’s Centennial celebration. -
Visitor Guide &
Visitor Guide & Map WELCOME TO THE HEARD MUSEUM Your visit to the Heard Museum includes 12 exhibition galleries, free audio self-guided tours, outdoor sculpture gardens, a renowned café, a contemporary art gallery and trading-post style shopping, plus much more. MUSEUM & SHOP HOURS The Heard Museum is fully wheelchair accessible and 3RD PARTY ADVERTISING Tuesday to Sunday, 10 a.m. to 4 p.m. wheelchairs are available Closed Monday upon request. Doors open to members at 9:00 a.m. on Saturday and Sunday Assisted Listening System, video & audio transcripts Closed Easter Sunday, Independence Day, are all available to be Thanksgiving and Christmas. checked out at Admissions. Food & drink are not MUSEUM APP permitted in the galleries. Download the new Heard Museum mobile app. Features include museum maps, Photography is permitted without flash unless audio guides, exhibition information and otherwise posted. more! Available in the App Store & Google Any bag over 13” x 17” Play, or scan this code with your phone's and all backpacks are not camera: permitted in the museum. Free lockers are available to store any items during your visit. No firearms or weapons are allowed on this property. cover: Meryl McMaster, What Will I Say to the Sky Pursuant to A.R.S. § 4-229 and Earth II, 2019, Chromogenic print flush mounted to Aluminum Composite Panel, Edition 1/5, 40 x 60 inches. Gift of Kathleen L. and William G. Howard. Copyright for many works of art in the museum rests with the artists. The Heard Museum does not assume liability for violation of copyright law by a photographer (Title 17, United States Code). -
MBDA Motion to Dismiss in Matter Re Application No
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA858717 Filing date: 11/15/2017 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91235367 Party Defendant Miami Tribe of Oklahoma Business Development Authority, a Tribal Enterprise of the Miami Tribe of Oklahomament Authority, a Tribal Enterprise of the Miami Tribe of Oklahoma Correspondence MIAMI TRIBE OF OKLAHOMA BUSINESS DEVELOPMENT Address AUTHORITY A TRIBAL ENTERPRISE OF THE MIAMI TRIBE OF OKLAHOMA , 66201 E 290 RD GROVE, OK 74344 UNITED STATES Email: [email protected] Submission Motion to Dismiss - Rule 12(b) Filer's Name Carl J. Artman Filer's email [email protected] Signature /Carl J. Artman/ Date 11/15/2017 Attachments Applicant MBDA Motion to Dismiss in matter re Application No. 87 208750.pdf(1828207 bytes ) UNITED STATES PATENT AND TRADEMARK OFFICE TRADEMARK TRIAL AND APPEAL BOARD In the Matter of Trademark Application Serial No. 87/208,750 Published January 3, 2017 CAESARS INTERACTIVE ) ENTERTAINMENT, LLC, ) Opposer, ) ) V. ) OPPOSITION NO. 91/235,367 ) MIAMI TRIBE OF OKLAHOMA ) BUSINESS DEVELOPMENT ) AUTHORITY, ) A TRIBAL ENTERPRISE OF ) THE MIAMI TRIBE OF ) OKLAHOMA, ) Applicant. ) ) MOTION TO DISMISS FOR LACK OF JURISDICTION BASED ON TRIBAL SOVEREIGN IMMUNITY I. SUMMARY OF THE MOTION The Miami Tribe of Oklahoma (“Tribe”) is a federally recognized Indian Tribe. The Tribe established and created a corporate and politic body known as the Miami Tribe of Oklahoma Business Development Authority (“MBDA”) as a subordinate economic enterprise and political subdivision of the Miami Tribe, having the purposes, powers, and duties provided by tribal law and delegated to it through tribal authority.