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ROM Exhibitions
Exhibition Database chronology Opening Date Exhibition Title Closing Date Locator [yyyy-mm-dd] [yyyy-mm-dd] Group Box 1934 Sir Edmund Walker's Collection of Japanese Prints 1935 Books Connected with Museum Work 1935 Harry Wearne Collection of Textiles 1935-05-16 Society of Canadian Painter-Etchers and Engravers 1935-05-29RG107 1 1936-02-17 Canadian Ceramic Association 1936-02-18RG107 1 1938 Australian Shells 1938 Tropical Butterflies and Moths 1938 Aquarium Show 1938 Nature Projects by Children 1938 Wild-Life Photographs 1938-spring Canadian Guild of Potters RG107 1 1939 Exhibit of Summer's Field Expedition's Finds 1939 Reproductions of Audubon's Bird Paintings 1939 Nature Photographs by Local Naturalist Photographers 1939 Works of Edwards and Catesby 1939 Natural History Notes and Publications of Charles Fothergill September 5, 2012 Page 1 of 67 Opening Date Exhibition Title Closing Date Locator [yyyy-mm-dd] [yyyy-mm-dd] Group Box 1941-03-21 Our War Against Insects 1941-04-02RG107 1 1941-04-06 Tropical Aquarium Fish 1941-06-20RG107 1 1942 Strategic Minerals 1942 Twelfth Century Chinese Porcelains 1942 Prospector's Guide for Strategic Minerals in Canada 1942-09 Cockburn Watercolours 1942-10 1942-10-24 Chinese Painting 1942-10-28RG107 1 1942-11 Hogarth Prints 1942-12 1942-summer Canadian Prints 1943 Minerals from Ivigtut, Greenland 1943 Introducing New Britain & New Ireland RG107 1 1943-01 History of Prints 1943-02 1943-03-06 Society of Canadian Painter-Etchers and Engravers 1943-04-04RG107 1 1943-04 Piranesi 1943-05 1943-06 Uses of Printing -
Glass Beads for Teachers
GLASS BEADS FOR TEACHERS A small collection of images of beads and beadwork serves as a context for further investigation and study of how HBC, through its trade with First Nations, was a major contributor to Canada’s story. Information about Glass Beads • Beading is a craft that has been practised by almost every culture in the world. • Glass beads were highly valued by the First Nations because they were durable and came in a wide variety of colours. • Before glass beads arrived on the scene, the First Nations were accustomed to using pieces of bone, shell or rock to adorn their clothing. Quillwork using dyed porcupine quills was also popular. • HBC sourced beads from Europe specifically for the trade. They introduced glass beads from Venice, the Czech Republic, the Netherlands, and Germany to the First Nations in exchange for provisions or simply to gain their goodwill. • Beads were a staple of the trade right up to the modern period. Seed beads were the most popular over time. • The First Nations incorporated the beads into a well-established tradition of craft, custom and beliefs. • Beads became common items to offer in gift exchanges when alliances and treaties were formed. • The First Nations adapted European materials to their traditional ways of making clothing and accessories, substituting cloth for hide, beads for quillwork, and silk ribbon appliqué for painted designs. • Native beading became something of a commodity in the Victorian period. First Nations began a craft tradition of making beaded items for commercial sale back to non-natives • Starting in the early 1800s, the First Nations developed beaded souvenirs. -
Maker Mondays
Maker Mondays Created by Historic Deerfield Museum Education Staff Members, Claire Carlson and Faith Deering. Welcome to Week Twelve of Maker Mondays from Historic Deerfield. Check your social media feed or look for an email from us every Monday for a fun activity that you can do at home, inspired by history and using common household items. Please Note: As we head into summer, our Maker Mondays activities will be posted every 2 weeks through July and August. Learn How to Quill This Monday we will show you how to make shapes and pictures using an historic art form called quilling. First, we will share an example of quilled art from Historic Deerfield’s collection. Next, we will tell you about some of the fascinating and interesting history of quilling prepared by former intern Catie Chipman. Then, you can find some paper, get out your scissors and glue, and follow our directions to make your very own quilled picture! A contemporary greeting card featuring a bleeding heart flower made from quilled paper. https://www.historic-deerfield.org/stationery?category=Quilling+Cards HD 57.057.2 This framed silk embroidered image of a young woman was made in the early eighteenth century. It depicts a woman with long brown hair, with pearls around her neck, and wearing a gown in shades of blue and and brown/gold robe in an oval medallion outlined with blue and gold cord. Her image is surrounded by tiny scrolls of rolled paper known as paper filigree or quillwork. An art form which began in Italian convents in the 13th century, paper quillwork was made from 1/8" strips of paper and parchment from discarded book pages. -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy .................................................................................. -
Textiles in Contemporary Art, November 8, 2005-February 5, 2006
Term Limits: Textiles in Contemporary Art, November 8, 2005-February 5, 2006 Early in the twentieth century, artists of many nationalities began to explore the textile arts, questioning and expanding the definition of art to include fabrics for apparel and furnishings as well as unique textile works for the wall. Their work helped blur, for a time, distinctions among the fields of fine art, craft, and design. By the 1950s and 1960s artists working in fiber, influenced both by their studies in ancient textile techniques and by twentieth-century art theory, began to construct sculptural forms in addition to the more conventional two-dimensional planes. The term Fiber Art was coined in the 1960s to classify the work of artists who chose fiber media or used textile structures and techniques. It was joined in the 1970s by Wearable Art, applied to work that moved Fiber Art into the participatory realm of fashion. These labels did not only define and introduce these movements, they also set them apart, outside the mainstream. Some critics, focusing solely on medium and process, and disregarding conceptual values, associated work in fiber automatically with the terms craft and design, a distinction that renewed old and often arbitrary hierarchieswithin the art community. Although categorization sometimes provides valid context, it is important to remember that any given term has a limited capacity to encompass and explain an object, an idea, or a movement. At the same time, it limits one's ability to perceive creative endeavors without the shadow of another's point of view. The boundaries implied by terminology can marginalize or even exclude artists whose work blurs the traditional lines separating art, artisanry, and industry. -
Download 2015 Manito Ahbee Festival Program
Celebrating 10 Years! Presented By FESTival pRogRaM SEpTEMbER 9-13 2015 MTS CENTRE WINNIPEG, MANITOBA, CANADA indigenousmusicawards.com manitoahbee.com NeedNeed fundingfunding forfor youryour nextnext project?project? ApplyApply for for FACTOR FACTOR fundingfunding atat www.factor.cawww.factor.ca to to get get help help for for tours, tours, sound sound recordings,recordings, andand music music videos. videos. We acknowledge the financial support We ofacknowledge Canada’s private the financial radio broadcasters. support of Canada’s private radio broadcasters. contentsTABLE OF About Manito Ahbee ............................................................................. 4 Welcome/Messages ............................................................................. 5 Board of Governors .............................................................................. 6 Greetings ............................................................................................... 8 Event Staff ............................................................................................ 12 Special Thanks .................................................................................... 23 Our Sponsors ...................................................................................... 32 Official Schedule .................................................................................. 34 IMA EvEnts >>> Red Carpet ........................................................................................... 25 The Hosts ........................................................................................... -
The Spirit of Beads Sharing Our Stories
October 25, 2020 - August 28 2021 The Spirit of Beads Ukrainian Museum of Canada Ontario Branch Sharing our Stories Exhibition Resource Guide Presented by Ukrainian Museum of Canada, Native Canadian Centre of Toronto Ontario Branch We gratefully acknowledge the support of our sponsors About the exhibit The Spirit of Beads: Sharing our Stories is co-presented by the Ukrainian Museum of Canada, Ontario Branch and the Native Canadian Centre of Toronto. This is the Museum's first collaboration with another organisation outside of the Ukrainian community, and we are delighted to have this opportunity. The Spirit of Beads: Sharing our Stories celebrates the beauty of Indigenous and Ukrainian beaded artifacts, including clothing, jewelry, bags, and more. This exhibition includes historic and contemporary beadwork and explores how this art form has come to represent the complex identities of Ukrainians and Indigenous cultures in Canada. It begins with the history of the bead trade in North America and Ukraine, tracing the origin of beads from natural materials such as stones, shells, and bones, to commercially-manufactured beads. The exhibit features modern pieces of beadwork from contemporary artists alongside historical objects from the Museum's collection and the Native Canadian Centre of Toronto, to demonstrate how modern beadwork re- invents and expresses past and present understandings of cultural identity. We have also been very fortunate to include pieces from private collections and individuals, making this exhibit very special. We are delighted to make this resource guide available to complement the content of The Spirit of Beads: Sharing our Stories. We hope that this will be a valuable addition for both individuals and institutions to begin their research and learning. -
Faren Sanders Crews
“Discovery of the New World” unleashed How did they manage to stay? By fleeing centuries of disease and violence that to, or already living on, inaccessible or decimated American Indian populations. “undesirable” land. Relying on existing But it was settler colonialism—the state or federal treaties (usually resulting hunger for land that fueled America’s in further loss of territory). Assimilating expansion—that increasingly drove through intermarriage and acculturation. American Indians from their homelands. And armed resistance. For Indians living in the Southeast, WE NEVER LEFT celebrates the Indian Removal Act of 1830 was contemporary artists descended from its ultimate expression, resulting in these American Indians who, against the forced removal of an estimated all odds, remained in the Southeast as 65,000 to “Indian Territory” west of the tribes who continue to live in Alabama, Mississippi (today’s Oklahoma). En route, Florida, Louisiana, Mississippi, North as many as ten thousand people are Carolina, South Carolina, and Virginia. estimated to have perished on what is now remembered as the Trail of Tears. Their highly diverse artwork reflects engagement with tradition-inspired Removal, however, was far from techniques, cutting-edge technology, complete. Estimates of Indians and pop culture, and addresses a who remained range from as few variety of issues—cultural preservation, as 4,000 to as many as 14,000—a language revitalization, personal discrepancy, scholars explain, due to identity and expression, American who government officials counted. history, community pride, and threats to (Indians’ reluctance to come forward was homeland and the natural environment. certainly understandable.) THIS EXHIBITION WAS ORGANIZED BY THE MUSEUM OF ARTS AND SCIENCES, DAYTONA BEACH, FLORIDA, AND CURATED BY WALTER L. -
A Life in Beads: the Stories a Plains Dress Can Tell Grade Levels: 4–6 | Time Required: 4 Class Periods
a life in BEADS The Stories a Plains Dress Can Tell A Life in Beads: The Stories a Plains Dress Can Tell grade levels: 4–6 | time required: 4 class periods Overview In this poster, students will be introduced to three generations edge a male family member’s valor, or to recognize a sacrifi ce. of Assiniboine (pronounced Uh-SINNA-boyn)/Sioux In most cases, men painted the battle scenes on dresses. A dress (pronounced SUE) women who make traditional dresses. with these images would only be worn by a family member: Through their stories and their art, students will learn about a wife, mother, sister, daughter, or granddaughter. the importance of preserving Native culture and see how The Assiniboine and Sioux are two separate tribes from families share and pass down traditions. Students will gain an the Northern Plains region, both situated on the Fort Peck understanding of the ongoing Plains traditions of beadwork Reservation in northeastern Montana. They are just two nations and quillwork—decorative arts done with beads and porcupine out of more than 550 Native nations in the United States today quills—and the “giveaway” (an honoring celebration). Students who still adorn their clothing, accessories, and other implements will explore the signifi cance of designs and symbols found on with materials that refl ect their surroundings and relate their dresses and better understand the Plains peoples’ long-standing, beliefs and values. Each Native nation expresses itself in its own close connection to their surroundings and natural resources. unique way—using different colors, symbols, designs, and mate rials. -
SEED BEADS 1049.*** Replace +++ with Color Number
Catalog 2015 h $3.00 n o i t a r e n e G t x e N e h T Dana Warrington Outfits that look this good start with quality craft supplies P.O. Box 295 • 1133 Washington Ave. • Escanaba, MI 49829 • 1-800-652-7192 Hello, this is... 800-652-7192 for Orders 906-789-0505 for Information 906-789-5619 FAX 24 hrs. E-Mail: [email protected] How may we help you? P.O. Box 295 Open: Weekdays 9 a.m. to 5:00 p.m. Eastern Time Escanaba, Michigan 49829 Saturdays 10 a.m. to 4 p.m. Visit us at www.nocbay.com NOTES ABOUT OUR CATALOG Left to right: Top; Judie, Dylan, Kate, Donna and Loren, Bottom; Karen, Tracia, Jeff. 2015 marks the 37th year we have been in busi - Royal Warrington. Royal was one of the original on the edge of the Wolf River’s Keshena Falls. He ness selling craft supplies. We want to thank all of members of the Smokeytown Singers and Becky is the publisher of much of the new music avail - those loyal customers throughout the USA as well is still a champion woman’s traditional dancer. able in our music library on Page 49. Thank you as those from other countries who have found that Dana was encouraged to dance and began at the Dana and John for your contributions to the Noc we can help in their cultural arts. You continue to age of 3 years old. He and his dad would always Bay family and this year’s 2015 catalog. -
Needlework Through History: an Encyclopedia
Needlework through History: An Encyclopedia Catherine Amoroso Leslie Greenwood Press Handicrafts through World History NEEDLEWORK THROUGH HISTORY An Encyclopedia Catherine Amoroso Leslie GREENWOOD PRESS Westport, Connecticut • London Th is book is dedicated to my grandmother, Kay Murphy and my mother, Colleen Murphy Hilliard, who taught me to value the legacy of needlework. Library of Congress Cataloging-in-Publication Data Leslie, Catherine Amoroso. Needlework through history : an encyclopedia / Catherine Amoroso Leslie. p. cm.—(Handicrafts through world history, ISSN 1552–8952) Includes bibliographical references and index. ISBN-13: 978–0–313–33548–8 (alk. paper) ISBN-10: 0–313–33548–6 (alk. paper) 1. Needlework—Encyclopedias. 2. Needlework—History. I. Title. TT750L48 2007 746.403—dc22 2006100691 British Library Cataloguing in Publication Data is available. Copyright © 2007 by Catherine Amoroso Leslie All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006100691 ISBN-13: 978–0–313–33548–8 ISBN-10: 0–313–33548–6 ISSN: 1552–8952 First published in 2007 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America Th e paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 Contents List of Entries vii -
Introduction: Indian Art of the Northern Plains
Plains Indian Art Trunk Curriculum 1 Plains Indian Art of the Northern Plains Traveling Trunk Curriculum Photo 1: NA.202.1139 Plains Indian Art Trunk Curriculum 2 Table of Contents Section 1 Introduction: Plains Indian Art of the Northern Plains page 3 Section 2 List of Objects page 8 Section 3 Descriptions of Art Forms and Objects page 9 Section 4 Plains Indian Art Curriculum page 27 Section 5 Suggested Readings page 30 Section 6 Suggested Children’s Literature page 32 Section 7 Photograph Descriptions page 34 Section 8 Glossary page 37 Photo 2: NA.111.6 Original Concept Developed By: George Horse Capture and Lillian Turner First Revised Edition Upgraded By: Adriane Strenk, BBHC Intern and Joy Comstock, Director of Education Second Revised Edition Written and Edited By: Megan Smith, K-12 Curriculum and Digital Learning Specialist and Rebecca West, Curator of the Plains Indian Museum (2011) Original Project Made Possible with the Support of the Wyoming Council for Humanities First Revisions Made Possible by a Grant from the Pacific Corp Foundation Second Revisions Made in the Memory of Laura Newcomer Plains Indian Art Trunk Curriculum 3 Section 1 Introduction: Plains Indian Art of the Northern Plains Background Long before Christopher Columbus’ arrival to the New World in 1492, Native Americans lived throughout this country, and inhabited areas that met their needs. These Native Americans lived on habitable land from the frozen Arctic to the southern tip of South America, settling into areas and regions. Here they developed advanced cultures using the materials and the environment around them. The first people inhabiting the plains were hunters.