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Olive Rush [1873–1966] an Artistic Retreat at Home in Crested Butte, Colorado Contemporary Comfort in Santa Fe, New Mexico Perspective
APRIL | MAY 2018 From Cowboy to Contemporary Emily Mason: In Celebration of Color Shelley Reed: Enlightenment in Monochrome Inspired by Architecture: T.C. Boyle’s Frank Lloyd Wright home plus:Perspective: The Gentle Rebel, Olive Rush [1873–1966] An Artistic Retreat at Home in Crested Butte, Colorado Contemporary Comfort in Santa Fe, New Mexico PERSPECTIVE THE GENTLE REBEL: OLIVE RUSH [1873–1966] Driven by her principles and a desire for originality, an overlooked artist and Santa Fe Art Colony figure emerges into the light WRITTEN BY Gussie Fauntleroy This page, clockwise from left: On the Balcony, Oil on Canvas, 32.5 x 26.25 inches, 1913 | Olive Rush (left), Sarah Katharine Smith (center) and Ethel Pennewill Brown (right) on the steps of the Howard Pyle Studio, ca. 1905–10 | Olive Rush’s cover design for Woman’s Home Companion, December 1909; All images from Olive Rush: Finding Her Place in the Santa Fe Art Colony by Jann Haynes Gilmore, courtesy of Museum of New Mexico Press. fateful photo as a significant factor in the painter’s decades- long neglect. That status has begun changing, thanks in part to Gilmore’s award-winning biography, Olive Rush: Finding Her Place in the Santa Fe Art Colony, published in 2016 by the Museum of New Mexico Press. Rush was also included in the 2017 PBS documentary, “Painting Santa Fe,” and her works on paper were featured in a 2017 exhibition in Santa Fe, presented by the Historic Santa Fe Foundation and the Santa Fe Quaker Meeting, and curated by art conservator and Quaker, Bettina Raphael. -
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. -
Georgia O'keeffe and Agnes Pelton
Art and Life Illuminated: Georgia O’Keeffe and Agnes Pelton, Agnes Martin and Florence Miller Pierce Karen Moss alter De Maria’s Lightning Field, installed in a remote area of the high desert in western New Mexico in 1977, is composed of four hundred 20-foot-high (6.06 m) polished stainless-steel poles situated 220 feet W(66.73 m) apart in a 1 x 0.62 mile (1.6 x 1 km) grid. De Maria’s intent is for the viewer to experience the “field” of this expansive land project both temporally and physically, preferably during the peak of the monsoon season, when one is most likely to encounter a thunderstorm. Given the project’s title and now well-known photographic documentation, the visitor eagerly anticipates a decisive moment when lightning strikes along the vast horizon, momentarily connecting this sculptural intervention with the mercurial forces of nature, but in reality this occurs rather infrequently. What one discovers, however, in watching the distant sun rise and set against the dark silhouetted hills and primordial plateaus, or in closely observing the field by walking among the poles, is that the most significant aspect of De Maria’s project is not the sudden spectacle of lightning, but the more subtle and utterly sublime quality of the constantly changing light. In an essay on New Mexico, Libby Lumpkin discusses how many modern artists have been attracted to the sublime light and landscape of the state. While some arrived as early as the 1880s, when the Santa Fe railroad was built, it was in the 1920s that writer and art patron Mabel Dodge Luhan (Sterne until 1923) began hosting artists and painters at her home in Taos. -
Academicism to Modernism.Pdf
Academicism to Modernism Fresh Perspectives on Historic Indiana Art Academicism to Modernism Fresh Perspectives on Historic Indiana Art October 28, 2005 – May 21, 2006 William Weston Clarke Emison Museum of Art DePauw University Foreword Kaytie Johnson Essay and acknowledgements Laurette E. McCarthy Editor Vanessa Mallory FOREWORD DePauw University is pleased to present from their collections for the show: Dr. Stephen Academicism to Modernism: Fresh Perspectives Butler and Dr. Linda Ronald; the Jack D. Finley on Historic Indiana Art, an exhibition that focuses Collection; Indiana State Museum and Historic on the lesser-known and understudied aspects of Sites; Indianapolis Public Schools; the Richmond Indiana art from the late nineteenth through early Art Museum; the Sheldon Swope Art Museum; Judy twentieth centuries. A majority of exhibitions and Waugh; and Wishard Health Services. publications that focus upon this period tend to The contributions of several individuals have concentrate primarily on what is referred to as enabled DePauw to present this exhibition. My “Hoosier Impressionism,” – most notably paintings thanks go out to my dedicated staff – Christie by artists such as T.C. Steele, John Ottis Adams Anderson and Christopher Lynn – for their tireless and William Forsyth – which has perpetuated an energy and enthusiasm in bringing this show to incomplete, and exclusive, history of the artistic fruition. My appreciation is also extended to Kelly legacy of Indiana. By introducing our audience to Graves for her design expertise and assistance with works by unfamiliar – and familiar – artists, in a wide producing this publication, and to Vanessa Mallory, range of artistic styles, we hope to emphasize, and whose editing skills are unrivaled. -
A Finding Aid to the Olive Rush Papers, 1879-1967, in the Archives of American Art
A Finding Aid to the Olive Rush Papers, 1879-1967, in the Archives of American Art Megan McShea Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. September 16, 2005 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical/Historical note.............................................................................................. 2 Scope and Contents note................................................................................................ 3 Arrangement note............................................................................................................ 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1886-1966, undated.............................................. 5 Series 2: Correspondence, 1889-1964.................................................................... 6 Series 3: Writings, 1886-1962, undated................................................................ -
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. -
In Every Room a Story of the Art in Every Room a Story of The
in every room a story of the art highlights from the collection of la fonda on the plaza The highlights of La Fonda’s art collection are featured on the pages of this book. Many of them are located in public spaces within the hotel. To view more of our art collection, No matter what the surface subject appears to be, including the pieces I hope to convey to the viewer something of my that are located in feeling of the endless chain of time. 1 private rooms, please Agnes Sims, (1910-1990) visit our website. We Artist hope you enjoy the view. contents introduction | Historical Perspective 3 chapter one | The Art of the 1920s 9 chapter two | The Art Collection Grows 25 chapter three | Native American Art 45 View the collection online at lafondasantafe.com 2 3 Mary Jane Colter (1869-1958), who had been designing hotels and interiors for the Fred Harvey Company The story of the artists and the story of the art that graces the halls of La Fonda on the Plaza—the oldest introduction hotel in the country’s oldest capital city—begins at the time of its acquisition by the Atchison, Topeka since 1902, worked with John Gaw Meem and is responsible for many of the decorative elements, including and Santa Fe Railway and its first years as a Harvey House in the 1920s. Opened in 1922, the hotel the mural by Dorothy Stauffer at the San Francisco Street entrance, so loved by visitors today. was erected on a site that has housed a fonda—or inn—reputedly since 1610. -
Synthesizing Transcendental Painting: Race, Religion, and Aesthetics in the Art of Emil Bisttram, Raymond Jonson, and Agnes Pelton
ABSTRACT Title of Document: SYNTHESIZING TRANSCENDENTAL PAINTING: RACE, RELIGION, AND AESTHETICS IN THE ART OF EMIL BISTTRAM, RAYMOND JONSON, AND AGNES PELTON Nathan K. Rees, Doctor of Philosophy, 2010 Directed By: Professor Sally M. Promey, professor of religion and visual culture, professor of American studies, and deputy director of the Institute of Sacred Music, Yale University, formerly professor of art history, University of Maryland, College Park. Three core artists of the Transcendental Painting Group, Emil Bisttram (1895- 1976), Raymond Jonson (1891-1982), and Agnes Pelton (1881-1961), employed modernist painting styles in an attempt to create spiritually significant art. Although previous scholarship has focused on the artists’ formal innovations, their work was imbricated in contemporary cultural politics, actively participating in discourses surrounding conceptions of race, religion, aesthetics, and the interrelation of each of these realms. Each drew from sources in metaphysical religious literature, especially Theosophy and related traditions. Their theories of ideal aesthetics for religious art, based on the supposition that artists could convey direct emotional experience through abstraction, reflected the Theosophical drive to overcome materialist philosophy by transcending the limits of physicality. Bisttram, Pelton, and Jonson also internalized Theosophy’s promotion of syncretism as a guiding principle, and followed metaphysical religionists in advocating a combinative appropriation from diverse religious and artistic traditions. In particular, they relied on Theosophical conceptions of the importance of gleaning allegedly ancient wisdom as they addressed American Indian cultures of the Southwest. Their art created a hybrid iconography, combining symbolic elements from metaphysical religious sources with imagery derived from Southwest Indian cultures, asserting an integral relationship between the two, and advancing the perceived agreement between Native American and Theosophical religious systems as evidence of the truth of the latter. -
28 August, 2000
OWINGS-DEWEY FINE ART A GALLERY FOR TH AND TH CENTURY AMERICAN ART CONSULTATION| SALES| APPRAISAL OLIVE RUSH (b. 1873 Fairmont, Indiana; d. 1966 Santa Fe, New Mexico) Media: Oil; watercolor Education: Art Students League, New York; Howard Pyle School of Illustration, Wilmington, Delaware; Miller Class for Painters, Paris; Corcoran School of Art, Washington, D.C. Exhibitions: (partial list) Pennsylvania Academy of the Fine Arts, 1905; National Academy of Design, New York, 1911; Corcoran Gallery of Art, Washington, DC, 1912; One-woman show, Museum of Fine Arts, Santa Fe, 1914, 1957, 1964; One-woman show, Art Institute of Chicago, 1925; Brooklyn Museum of Art, New York, 1927; Denver Art Museum, 1930; Museum of Modern Art, New York, 1933; Metropolitan Museum of Art, New York, 1950. Public Collections: (partial list) Brooklyn Museum, Brooklyn, New York; Delaware Art Museum, Wilmington; Glenbow Museum, Calgary, Canada; Indianapolis Art Museum, Indianapolis, Indiana; Museum of Fine Arts, Santa Fe; The Phillips Collection, Washington, DC; Roswell Museum and Art Center, Roswell, NM; Worcester Art Museum, Worcester, MA. Murals: Santa Fe Public Library; New Mexico State University, Las Cruces, Biology Building; Florence, Colorado, Post Office; Pawhuska, Oklahoma, Post Office. Honors: 1947, Honorary Doctor of Fine Arts, Earlham College, Fairmont, Indiana. Selected Bibliography: Coke, Van Deren, Taos and Santa Fe The Artist’s Environment 1882-1942. University of New Mexico Press, Albuquerque, 1963. Cuba, Stanley L., Olive Rush: A Hoosier Artist in New Mexico. Ministerial Cultural Foundation, Inc., Indiana, 1992. Nestor, Sarah and Robertson, Edna, Artists of the Canyons and Caminos. Peregrine Smith, Inc., 1976. EAST SAN FRANCISCO STREET| SANTA FE, NEW MEXICO | . -
Oct. 25 – 28, 2017 COLUMBUS COLLEGE of ART & DESIGN WELCOME DR
Oct. 25 – 28, 2017 COLUMBUS COLLEGE OF ART & DESIGN WELCOME DR. CORN Welcome. It’s a midwestern word, an Ohio word, a Columbus word, and a Columbus College of Art & Design word. We hold this sentiment close to our hearts here at CCAD, and mean it when we say it. Welcome. I was frst welcomed into this smart, open, funny, creative, brilliant, friendly, active, honest, and stimulating community a little less than two years ago, and I’m proud to call both Columbus and CCAD home. Columbus and CCAD are intimately intertwined. The Columbus you see today is what it is because of the contributions of artists and designers of our 138-year-old institution. And the city’s leaders, employers, and passionate advocates are extremely instrumental attracting the world’s future movers and shakers to CCAD. I do hope that you enjoy your stay with us, that you leave this conference with new ideas, new friends, and a renewed vision for your own practice in art and art history. Please make sure you take the time to explore our neighborhoods, galleries, and institutions. And don’t mind us if we to say hello or smile. It’s what we do. Best, Dr. Melanie Corn President Columbus College of Art & Design 2 Welcome to the 2017 SECAC meeting hosted by Columbus College of Art & Design. This year marks the 73rd annual meeting of SECAC and only the second to be held north of the Mason-Dixon line in the organization’s rich history. The CCAD community is thrilled to host the event and we cordially welcome you to Columbus, Ohio. -
Mary-Russell Ferrell Colton, Northern Arizona's Early Art Educator
Georgia State University ScholarWorks @ Georgia State University Educational Policy Studies Dissertations Department of Educational Policy Studies 3-22-2010 We Must Grow Our Own Artists: Mary-Russell Ferrell Colton, Northern Arizona's Early Art Educator William James Burns Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/eps_diss Part of the Education Commons, and the Education Policy Commons Recommended Citation Burns, William James, "We Must Grow Our Own Artists: Mary-Russell Ferrell Colton, Northern Arizona's Early Art Educator." Dissertation, Georgia State University, 2010. https://scholarworks.gsu.edu/eps_diss/54 This Dissertation is brought to you for free and open access by the Department of Educational Policy Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Educational Policy Studies Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. ACCEPTANCE This dissertation, WE MUST GROW OUR OWN ARTISTS: MARY-RUSSELL FERRELL COLTON, NORTHERN ARIZONA’S EARLY ART EDUCATOR, by WILLIAM JAMES BURNS, was prepared under the direction of the candidate’s Dissertation Advisory Committee. It is accepted by the committee members in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Education, Georgia State University. The Dissertation Advisory Committee and the student’s Department Chair, as representatives of the faculty, certify that this dissertation has met all standards of excellence and scholarship as determined by the faculty. The Dean of the College of Education concurs. ______________________________ ___________________________ Sheryl A. Gowen, Ph.D. Barbara Kawulich, Ph.D. Committee Chair Committee Member ______________________________ ___________________________ Ann Kruger, Ph.D. -
RESOURCE CATALOG IINDIANANDIANA AARTISTSRTISTS Adams, John Ottis 1851–1927
AArtrtrtSmaSSmart:mart:t: Indiana RESOURCE CATALOG IINDIANANDIANA AARTISTSRTISTS Adams, John Ottis 1851–1927 JOHN OTTIS ADAMS was born in Amity, in Johnson County. After two years at Wabash College in Crawfordsville, he left to become an artist. He studied at the Kensington Art School in London in 1872 and at the Royal Academy of Bavaria in Munich from 1880 to 1887. Then Adams formed an alliance with other Indiana Impressionist artists, called the Hoosier Group. Adams set up portrait studios in Seymour, then in Martinsville, and eventually in Muncie, where he and William Forsyth began a partnership in 1888. Adams also painted with T. C. Steele at Metamora, and was strongly infl uenced by William Merritt Chase’s paintings exhibited at the Indiana State Fair circa 1896. In 1898 Adams married Winifred Brady of Muncie, also an artist; their home in Brookville was built in the shelter of a Wash Day, Bavaria, 1885 great forest, prompting Adams and Steele 18 1/2" x 23 5/8" Indianapolis Museum of Art to call it “the Hermitage.” Adams was Keywords: paintings, narrative, oil on canvas an instructor at Indianapolis’s Herron Subjects: outdoors, trees, people, women, houses, Hoosier Group Art Institute from 1904 to 1909. The Adamses spent part of each summer in Adams painted this while in Munich; the setting looks European. Notice the thatched roofs Leland, Michigan, painting woodlands and and the woman’s clothing. This genre painting is full of the details of daily life. sunsets, and in later life painted in Florida each winter. For Discussion ● Ask students how this scene from Munich in 1885 might compare with wash day in Indiana at that same time.