Tribe on the Move in 2018
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MS 7536 Pochoir Prints of Ledger Drawings by the Kiowa Five
MS 7536 Pochoir prints of ledger drawings by the Kiowa Five National Anthropological Archives Museum Support Center 4210 Silver Hill Road Suitland, Maryland 20746 [email protected] http://www.anthropology.si.edu/naa/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Local Numbers................................................................................................................. 3 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Biographical / Historical.................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Biographical / Historical................................................................................................... -
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. -
The Szwedzicki Portfolios: Native American Fine Art and American Visual Culture 1917-1952
1 The Szwedzicki Portfolios: Native American Fine Art and American Visual Culture 1917-1952 Janet Catherine Berlo October 2008 2 Table of Contents Introduction . 3 Native American Painting as Modern Art The Publisher: l’Edition d’Art C. Szwedzicki . 25 Kiowa Indian Art, 1929 . .27 The Author The Subject Matter and the Artists The Pochoir Technique Pueblo Indian Painting, 1932 . 40 The Author The Subject Matter and the Artists Pueblo Indian Pottery, 1933-36 . 50 The Author The Subject Matter Sioux Indian Painting, 1938 . .59 The Subject Matter and the Artists American Indian Painters, 1950 . 66 The Subject Matter and the Artists North American Indian Costumes, 1952 . 81 The Artist: Oscar Howe The Subject Matter Collaboration, Patronage, Mentorship and Entrepreneurship . 90 Conclusion: Native American Art after 1952 . 99 Acknowledgements . 104 About the Author . 104 3 Introduction In 1929, a small French art press previously unknown to audiences in the United States published a portfolio of thirty plates entitled Kiowa Indian Art. This was the most elegant and meticulous publication on American Indian art ever offered for sale. Its publication came at a time when American Indian art of the West and Southwest was prominent in the public imagination. Of particular interest to the art world in that decade were the new watercolors being made by Kiowa and Pueblo artists; a place was being made for their display within the realm of the American “fine arts” traditions in museums and art galleries all over the country. Kiowa Indian Art and the five successive portfolios published by l’Edition d’Art C. -
Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By DENISE NEIL-BINION Norman, Oklahoma 2017 REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. Mary Jo Watson, Chair ______________________________ Dr. W. Jackson Rushing III ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Daniel Swan © Copyright by DENISE NEIL-BINION 2017 All Rights Reserved. For the many people who instilled in me a thirst for knowledge. Acknowledgements I wish to extend my sincerest appreciation to my dissertation committee; I am grateful for the guidance, support, and mentorship that you have provided me throughout this process. Dr. Mary Jo Watson, thanks for being a mentor and a friend. I also must thank Thomas Lera, National Postal Museum (retired) and RoseMaria Estevez of the National Museum of the American Indian. The bulk of my inspiration and research developed from working with them on the Indians at the Post Office online exhibition. I am also grateful to the Smithsonian Office of Fellowships and Internships for their financial support of this endeavor. To my friends and colleagues at the University of Oklahoma, your friendship and support are truly appreciated. Tammi Hanawalt, heather ahtone, and America Meredith thank you for your encouragement, advice, and most of all your friendship. To the 99s Museum of Women Pilots, thanks for allowing me so much flexibility while I balanced work, school, and life. -
Horace Poolaw, Photographer of American Indian Modernity / Laura E
HORACE POOLAW Photographer of American Indian Modernity HORACE POOLAW Photographer of American Indian Modernity Laura E. Smith · Foreword by Linda Poolaw University of Nebraska Press Lincoln and London © 2016 by the Board of Regents of the University of Nebraska Acknowledgments for the use of copyrighted material appear on page xvi, which constitutes an extension of the copyright page. All rights reserved Manufactured in the United States of America Library of Congress Cataloging- in- Publication Data Names: Smith, Laura E. (Laura Elizabeth), 1962– author. Title: Horace Poolaw, photographer of American Indian modernity / Laura E. Smith; foreword by Linda Poolaw. Description: Lincoln: University of Nebraska Press, [2016] | Includes bibliographical references and index. Identifiers: lccn 2015034795 isbn 9780803237858 (cloth: alk. paper) isbn 9780803288072 (pdf) Subjects: lcsh: Poolaw, Horace, 1906– 1984. | Kiowa Indians — Biography. | Indian photographers — Biography. | Kiowa Indians — Social life and customs — 20th century. | Indians of North America — Great Plains — Social life and customs — 20th century. | Kiowa Indians — Ethnic identity. | Indians of North America — Great Plains — Ethnic identity. | Documentary photography — United States — History — 20th century. Classification: lcc e99.k5 s58 2016 | ddc 978.004/974920092 — dc23 lc record available at http://lccn.loc.gov/2015034795 Set in Arno by L. Auten. Designed by N. Putens. Contents List of Illustrations vii Foreword by Linda Poolaw xiii Acknowledgments xv Introduction xvii 1. Homeland 1 2. Family 17 3. History and Pageantry 47 4. Warbonnets 71 5. Postcards 93 6. Art 115 Epilogue 137 Notes 141 Bibliography 175 Index 189 Illustrations 1. Joseph K. Dixon. Plenty 5. Horace Poolaw. Kaw- au- on- Coups (Crow) and wife tay and great- grandson Jerry in car, c. -
Bacone College's
EVOLVING STATES Michael Elizondo Jr. and the Reemergence of the Bacone College School of Indian Art By Cedar Marie (Standing Rock Lakota descent) ACONE COLLEGE’S Peoria) depicted images and stories of the INFLUENCE on Michael Native American Church, a regular and Elizondo Jr. has evolved over important influence for Elizondo’s family. Btime. The oldest continuing As a young man and art student, Elizondo American Indian college in what is looked to these artists for inspiration. now Oklahoma, Bacone College was He wanted to express himself in his own chartered in 1880 and its campus was way while also keeping his culture as the later established in Muskogee within central subject matter in his artwork. the Muscogee (Creek) Nation. Unlike Even though he did not attend Bacone’s many schools for Native students of its art school, when Elizondo researched time, Bacone College supported expres- artists and artworks that he could relate to sions of Native identity, cultures, and and learn from, his research nearly always visual arts. Its storied School of Art was led him back to Bacone College and the directed by Native artists and gave birth art department’s history of prominent to the Bacone school, a form of Flatstyle directors. painting that flourished in the 20th Elizondo received his BFA from century and continues today. Michael Oklahoma Baptist University (OBU) in Elizondo Jr. (Cheyenne/Kaw/Chumash) 2008 and his MFA from the University now serves as the new art director of the of Oklahoma (OU) in 2011. At OBU Bacone College School of Indian Art. -
NEWS RELEASE Oct. 16, 2020
NEWS RELEASE Oct. 16, 2020 FRED JONES JR. MUSEUM OF ART THE UNIVERSITY OF OKLAHOMA - NORMAN CONTACT: KAYLEE KAIN, Director of Communication, (405) 325-3178, [email protected] FAX: (405) 325-7696 www.ou.edu/fjjma FOR IMMEDIATE RELEASE WITH IMAGE Fred Jones Jr. Museum of Art Exhibition Features Kiowa Six NORMAN, OKLA. – A first-of-its-kind exhibition is now on display at the Fred Jones Jr. Museum of Art exclusively featuring the artists known as the Kiowa Six: Spencer Asah (1906-1954), James Auchiah (1906-1974), Jack Hokeah (1901-1969), Stephen Mopope (1898-1974), Lois Smoky (1907-1981), and Monroe Tsatoke (1904-1937). Kiowa Agency: Stories of the Six explores the ways in which these artists were agents of cultural preservation throughout their careers. Between 1927 and 1929 six Kiowa artists completed artistic residencies at the University of Oklahoma. Previous scholarship suggests Oscar B. Jacobson, director of the school of art at OU, discovered the artists, although they had already established careers before coming to the university. It is this narrative Kiowa Agency seeks to correct through emphasizing each artist’s individuality and career. The exhibition is the result of a collaboration between the Art History program of the School of Visual Arts and the Fred Jones Jr. Museum of Art. The exhibition and accompanying catalog are funded by a generous grant from the Andrew W. Mellon Foundation in New York City. The show was organized by three student-curators, Mariah Ashbacher, Julia Harth and Olivia von Gries, who were enrolled in a spring 2020 seminar on Native American Art and Museum Studies led by Dr. -
Jacobson, Oscar Brousse (1882–1966)
University of Oklahoma Libraries Western History Collections Oscar Brousse Jacobson Collection Jacobson, Oscar Brousse (1882–1966). Papers, 1916–1950. 1.33 feet. Professor. Newspaper editorial cartoons (1918–1930) regarding World War I and the post- war period; civilian defense correspondence (1917–1920) and publications (1942–1945), including plans, papers, and blueprints detailing civilian defense of the University of Oklahoma in the event of enemy attack; biographies (n.d.); and Jacobson’s unpublished manuscript (ca. 1954) regarding Oklahoma artists and the status of art in Oklahoma through 1930. ______________________ Box 1 (J-1) Folder: 1 Issue of Utlandssvenskarna magazine of 1955. See article within regarding Jacobson. Catalogues: 2nd-4th Annual Exhibition, the Art of the Southwest, University of Oklahoma, 1917, 1918 and 1919. Typescript, in English, of article in magazine. Pictures of our Country, Exhibit, Chicago Art Institute, 1919. 2 Materials regarding the Association of Oklahoma Artists dating from the nineteen teens. Includes organizational constitution, original typed version by Jacobson. 3 Re: World War One. League of the Allies materials. 4 Re: World War One. League of the Allies materials, and information packet from the national Treasury Dept. regarding a national poster competition to promote war savings campaigns. 5 Re: World War Two. Papers regarding civilian defense operations and initiatives at the University of Oklahoma. 6 Re: World War Two. Booklet: "Suggested Regulations For Retail Stores For Blackouts and Air Raids." By the U.S. Office of Civilian Defense. 7 Re: World War Two. Booklet: "Civilian Defense Protective Concealment." By U.S. Office of Civilian Defense. 8 Re: World War Two. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PABLITA VELARDE, HELEN HARDIN, AND MARGARETE BAGSHAW: THREE GENERATIONS OF ASSERTION, EXPRESSION, AND INNOVATION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By EMILY PAYNE Norman, Oklahoma 2018 PABLITA VELARDE, HELEN HARDIN, AND MARGARETE BAGSHAW: THREE GENERATIONS OF ASSERTION, EXPRESSION, AND INNOVATION A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ____________________________ Dr. W. Jackson Rushing, III, Chair ____________________________ Dr. Robert Bailey ____________________________ Dr. Alison Fields ____________________________ Mr. Byron Price ____________________________ Dr. Dan Swan ____________________________ Dr. Mary Jo Watson © Copyright by EMILY PAYNE 2018 All Rights Reserved. Dedication For my mom, Mary Bee Clark (1953-2015). Sending you love always. Acknowledgements This dissertation has been an undertaking that would not have been possible without the support of many mentors. I wish to give a special thanks to Dr. W. Jackson Rushing III, chair of my committee, for his valuable advice which guided my work, and his patience and encouragement, both of which kept me going. Dr. Mary Jo Watson, your passion for Native art is contagious, and I sincerely thank you for being a role model for me. Dr. Robert Bailey, Dr. Alison Fields, Mr. Byron Price, and Dr. Dan Swan, I appreciate your instruction and support and thank you for investing your time in this project. Many others deserve mention as well, for their assistance with my research. Thank you to Heather Ahtone, Diana Bird, Christina Burke, Thomas Young, and Mark White. Also, many thanks to Dan McGuinness for sharing his remembrances of Margarete Bagshaw with me. -
Transcending Boundaries: the Kiowa Six
KIOWA SIX READING Kiowa Culture and Traditions In the early 1800s, the Kiowa were a nomadic tribe who lived primarily in the northern and central plains of what is now the United States. Tribal members had winter and summer camps that followed the migration of the bison, which was their main source of food, shelter, and leather goods. The economy revolved around hunting, trading, and breaking wild horses. The Kiowa also traded bison hides and horses for corn and agricultural products from neighboring tribes. Kiowa families were close-knit, large, and protective of one another. The Kiowa also had a rich artistic tradition. They had no written language, so their history and life were shared through storytelling and with pictures. Men painted calendars, scenes of war, heroic deeds, dances, religious ceremonies, and other important events on rocks, hides, shields, and clothing. Later, men painted in ledger books—account books given to the Kiowa by government officials or through trade with settlers. Women traditionally created art through beadwork, clothing, and pottery. Traditional art methods and designs were passed from generation to generation. Westward Expansion With a booming number of European American settlers traveling west in pursuit of land for themselves, clashes with Native American tribes like the Kiowa were inevitable. The Kiowa and other tribes spent years resisting settlers’ attempts to take their land. By the mid-1860s, the United States government prevailed in subduing Native uprisings, often by force. U.S. government officials signed treaties with the Kiowa and other tribes that moved the tribes onto permanent reservations. These reservations forced a new lifestyle of farming and ranching, yet the Kiowa still shared their wealth and shared ownership of these new lands. -
Dudleyla2013.Pdf (4.817Mb)
THE LEGACY OF ARTHUR AND SHIFRA SILBERMAN: AN UNPARALLELED COLLECTION OF AMERICAN INDIAN PAINTING AND SCHOLARSHIP by LEIGH A. DUDLEY A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN HISTORY-MUSEUM STUDIES University of Central Oklahoma May 2013 ii ABSTRACT Arthur Silberman (1924-95) and his wife, Shifra Silberman (1932-90), spent the majority of their lives collecting, preserving, and promoting the unique beauty of American Indian art. From the early establishment of American Indian works on paper to the more modern and disciplined adaptation of Indian artistic traditions, this collection, now in the possession of the National Cowboy and Western Heritage Museum (NCWHM), encompasses an important evolution not only in Native American painting, but in American painting in general. The Silbermans labored to inspire an appreciation for Indian art in others by increasing public awareness through lectures, publications, and exhibits. Their dedication to collecting and studying American Indian art and culture in addition to their gathering of research materials, including oral history interviews with Traditional artists and those that knew them, enabled a flood of knowledge on the subject and influenced the world of art including the scope of the collections at the NCWHM. Listening to the voices of Native Americans in the interviews conducted by the Silbermans, one begins to understand not only the ancestral traditions which served as the foundation for Native art, but also the artists’ need to conform and mold their creative visions to early twentieth-century political and monopolistic demands in order to sustain the American Indian economy and maintain their cultural customs. -
Kiowa Six the Kiowa Six Is a Group of Six Kiowa Artists from Oklahoma in the 20Th Century
Kiowa Six The Kiowa Six is a group of six Kiowa artists from Oklahoma in the 20th century. They were Spencer Asah, James Auchiah, Jack Hokeah, Stephen Mopope, Lois Smoky, and Monroe Tsatoke. Stephen Mopope, the oldest in the group, was born in 1898 on the Kiowa Reservation in Oklahoma Territo- ry. His relatives, including his great-uncles Silver Horn Oklahoma and Fort Marion ledger artist Ohettoint, recognized his artistic talent at an early age and taught him traditional Kiowa painting techniques Spotlight Jack Hokeah was born around 1900 and was or- phaned at a young age and raised by his grandmother. Later in life, San Ildefonso Pueblo potter Maria Marti- nez adopted him as a son and he lived with her family for a decade in New Mexico. Monroe Tsatoke was born in 1904 near Saddle Mountain, Okla- homa. His father, Tsatokee “Hunting Horse,” was his first artistic influ- ence. James Auchiah was born in 1906 near present-day Medicine Park, Oklahoma. One of his grandfather was Red Tipi, a ledger artist, medi- cine man, and bundle keeper the other was Satanta. Spencer Asah was born around 1905 in Carnegie, Oklahoma. His father, a buffalo medicine man, provided Asah with the traditional cul- tural background to inspire his art. Lois Smoky was born in 1907 near Anadarko; she was the youngest of the group and the only woman. Five of the artists attended the St. Patrick’s Mission School in Anadarko, serving Kiowa, Comanche, and Apache children. Operating from 1872 to 1996, the school — also known as the Anadarko Boarding School — was the longest lived of the seven schools for Native Ameri- can children in Oklahoma operated by St.