Paradox, Precision, and Passion
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FJJMA-Bialac Native Art Collection
NEWS RELEASE March 26, 2010 FRED JONES JR. MUSEUM OF ART UNIVERSITY OF OKLAHOMA - NORMAN CONTACT MICHAEL BENDURE, Director of Communication, 405-325-3178, [email protected] FAX: 405-325-7696 www.ou.edu/fjjma FOR IMMEDIATE RELEASE WITH IMAGE OU Receives Major Gift of Native American Art NORMAN, OKLA. – University of Oklahoma President David L. Boren announced Thursday that the university has received one of the most important private collections of Native American art in the country. The gift comes to OU from the private collection of James T. Bialac of Arizona. The multimillion-dollar collection of more than 3,500 works represents indigenous cultures across North America, especially the Pueblos of the Southwest, the Navajo, the Hopi, many of the tribes of the Northern and Southern Plains and the Southeastern tribes. Included in the James T. Bialac Native American Art Collection are approximately 2,600 paintings and works on paper, 1,000 kachinas and 100 pieces of jewelry representing major Native artists such as Fred Kabotie, Awa Tsireh, Fritz Scholder, Joe Herrera, Allan Houser, Jerome Tiger, Tonita Pena, Helen Hardin, Pablita Velarde, George Morrison, Richard “Dick” West, Patrick DesJarlait and Pop Chalee. “The university community is deeply grateful to Jim Bialac for this important and generous gift,” said OU President David L. Boren. “This collection will expose our students and people all across the country to some of the most important works of Native American art ever created. It will provide new insight into Native American culture. In addition, the collection will be an important source for art history students, including graduate students in OU’s Ph.D. -
Your Summer Guide to Buying Native American Art and Artifacts, Fine Western Art and Western Americana
THE OLD WEST Your Summer Guide To Buying Native American Art and Artifacts, Fine Western Art and Western Americana A SUPPLEMENT TO ANTIQUES AND THE ARTS WEEKLY | 5 CHURCH HILL RD | NEWTOWN, CONNECTICUT, 06470 | JULY 20, 2018 2 - THE OLD WEST Antiques and The Arts Weekly — July 20, 2018 THE OLD WEST • THE OLD WEST • THE OLD WEST • THE OLD WEST R. Scudder Smith, Publisher Laura Beach, Editor Cindie Niemiera, Advertising Manager Barb Ruscoe, Account Executive email: [email protected] Tel: 203-426-8036 or 426-3141 or Fax: 203-426-1394 Website: www.antiquesandthearts.com Published by The Bee Publishing Company, THE OLD WEST • THE OLD WEST • THE OLD WEST • THE OLD WEST Box 5503, Newtown Connecticut 06470 Moran’s Expands Its Curated, Biannual Art Of The American West Auctions A Navajo-style gold and turquoise squash blossom suite, signed for maker George Cofield ($10/15,000). porary Western sculpture and paintings at its previous auctions — for example, see Bill Worrell’s (b 1936, Texas) “The Healer,” a large-scale abstract bronze and stone A Navajo classic period child’s wearing blanket, mid- sculpture that tied up every available telephone bid line at Nineteenth Century, 5 feet 6 inches long by 3 feet 9 Moran’s November auction and realized $10,200 — these inches wide ($15/25,000). Hernando G. Villa (Los Angeles, 1881–1952), Indian catalogs have come to include all types of Western- and Na- Chieftain holding a feathered staff, 1947, oil on can- MONROVIA, CALIF. — John Moran Auctioneers tive American-genre works of art and objects in a range of vas ($10/15,000). -
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. -
Visual Violence in the Land of Enchantment
VISUAL VIOLENCE IN THE LAND OF ENCHANTMENT A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Patricia Marroquin Norby IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Brenda Child Adviser, Jennifer Marshall Co-adviser June, 2013 © Patricia Marroquin Norby 2013 i Acknowledgements Simultaneously working full-time while raising a family and completing a doctoral program has been one of the most rewarding and challenging experiences of my life. Such an accomplishment would not have been possible without the generous support of numerous individuals. The following is a list of truly amazing people including colleagues, friends, and family who believed in this project and in me even when I suffered my own doubts. To my committee members Brenda Child, Jennifer Marshall, Patricia Albers, and Jane Blocker I thank you for your guidance and encouragement throughout the completion of this project. I am honored to have you as my professional mentors. To good friends and graduate colleagues at the University of Minnesota Twin Cities including Karissa White, Erik Redix, Scott Shoemaker, Kate Beane, and Rudy Aguilar, I cherish your friendship and the camaraderie we shared. Special thanks goes to Karissa White, Issac Lopit, and Kate Beane for offering a place to stay and providing a sense of warmth and family on so many cold Minnesota winter nights. You helped make the long-distance commute and time away from my own family much more bearable. My family and our home are so precious to me. I thank my husband Nathan Norby and our children Alejandro Marroquin, Derek Norby, and Madeline Marroquin-Norby for all your love. -
C's Pueblo Project
Lesson Plan Eight: Making Pueblo Pottery Students use pottery making to PUEBLO POTTER learn about traditional Pueblo pottery methods and also the importance of maintaining cultural practices through the oral tradition. Y ACTIVITIES eacher Resources T Location: classroom Suggested group size: whole class, small groups, individuals Subject(s): history, social studies, art Concepts covered: coil-building pottery, oral tradition, maintaining cultural identity Written by: Cecelia Duran, Tesuque Day School POT SHERD ACTIVITIES - Teacher Resource for Activity 2 Corky Hewitt, El Dorado Elementary Expanded and modified by Chris Judson, Bandelier National Teacher: make a copy of the picture of the pot and cut it up as a jigsaw puzzle Monument (you may want to glue the sheet on a piece of cardstock before cutting). Be sure Last updated: 2/2007 that the "Made in Brooklyn" label is all in one piece and that you hold on to that piece while the students are assembling the puzzle. Student outcomes: At the end of this activity, students will know the steps in making and firing hand-coiled Pueblo pottery, will understand that Pueblo people may feel that for some kinds of skills and knowledge the best way of passing it along is by oral tradition, and will know why it is important to them to keep a strong connection to their traditions. 122 123 THE ANCESTRAL PUEBLO PEOPLE OF BANDELIER JEMEZ MOUNTAINS EXPLORER GUIDES EDUCATIONAL STANDARDS Grade 4 PUEBLO POTTER 1. Describe various cultures and the communities they represent, and explain New Mexico State Standards how they have evolved over time. Art NATIONAL STANDARDS Content Standard 1: Learn and develop the essential skills and technical demands unique to dance, music, theatre/drama, History and visual arts. -
Book Review: Native American Picture Books of Change: the Art Of
Volume 43 Number 2 2004 11/4/10 7:05 PM Page 46 BOOK REVIEW Native American Picture Books of Change: The Art of Historic Children’s Editions, by Rebecca C. Benes with a foreword by Gloria Emerson. Santa Fe: Museum of New Mexico Press, 2004. Ilus., notes, biblio., index, 168 pages. ISBN0-89013-471-5, $45.00. Almost as soon as Elizabeth Willis De Huff, wife of the newly-appointed superintendent of the Santa Fe Indian School, John De Huff, arrived in 1918, she began to involve herself in the education of the children. Here she found military discipline; English only; a substandard educational system, devoid of the arts; and teaching material that was totally irrelevant to the lives of the Native children. By encouraging the students to share their folklore and songs, she collected some 50 tales, which she compiled into a reader-sized book. For an illustrator, she turned to a talented student, 18-year-old Fred Kabotie. Harcourt-Brace published the book, Tatay’s Tales, in 1922, and nominated it for the American Library Association’s Newberry Award, that honored the most distinguished contribution to American literature for children in 1923. It lost by one vote—to Hugh Lofting’s Voyages of Dr. Doolittle! Thus began four decades of publishing, whereby Anglo writers, teachers, and folklorists, desperate for books and materials that related to the Indian students’ cultural traditions, collaborated to produce English and bilingual books that also featured some soon-to-be leading Native artists of the 20th century, including Allan Houser, Oscar Howe, Gerald Nailor, Quincy Tahoma, Andrew Tsinajinnie, Hoke Denetsosie, and Andrew Standing Soldier. -
Current Inventory
Pablita Velarde Current Inventory Pablita Velarde - 1918 - 2006 Born at Santa Clara Pueblo in 1918, Pablita Velarde was the first female student at the Santa Fe Indian School under Dorothy Dunn in 1933. Class- mates included: Allan Houser, Karl Gorman, Fred Kabotie, Narcisco Abeyta “Ha So-Deh”, Ben Quintana, Harrison Begay, Joe H. Herrera, Quincy Tahoma, Andy Tsihnajinnie, Eva Mirabel, Tonita Lujan, Pop-Chalee, Oscar Howe, and Geronima Cruz Montoya. Many of these became iconic Native Pablita Velarde artists, but it was Alan Houser and Pablita Velarde that made the most impact on the art world over their long careers. As a 14 year old, Velarde “Pueblo Birds” painted a mural for the Chicago Worlds Fair in 1934. She was the W.P.A. artist in residence during the construction of Bandelier National Monu- 24” X 20” Pablita Velarde ment from 1938 to 1945. Winning almost every Native art award – many times over, she has had a place in almost every major Native museum earth pigment c.1960 “Santo Domingo Bird” show and collection in America. In 1953, she was the first woman to receive the Grand Purchase Award at the Philbrook Museum of Art’s Annual -Ex $19,500 hibition of Contemporary Indian Painting. In 1954 the French government honored her with the Palmes Académiques for excellence in art. In 1959 24” X 12” she became the first Pueblo woman published, with her book “Old Father The Story Teller”. Widely recognized by collectors and museums alike as earth pigment c.1952 the most significant Native female painter, she painted up to her death in 2006. -
A Voyage with Helen Hardin, Southwest Artist. Kate T
Hardin 1 A Transcendent journey through the motherline: A voyage with Helen Hardin, southwest artist. Kate T. Donohue, Ph.D., REAT* *Kate T. Donohue is an Expressive Arts Therapy core faculty member at the California Institute of Integral Studies, 1453 Mission Street, San Francisco, CA. 94103 and is in a Jungian oriented private practice In San Francisco. “The artist appeals to that part of our being…which is a gift and not an acquisition and therefore is more permanently enduring” (Joseph Conrad in Hyde, 1979, p. XI). Introduction The artist gives us a gift of her personal images, which can be a bridge to our own personal experience and a portal to archetypal symbols. Ten years ago, I had an extraordinary experience of discovering the artistic work of the Southwest artist Helen Hardin. At that moment, little did I know that her work and her life story would open me to my own experience in a fuller, and deeper way, but would also help many other women with whom I have worked discover their own richly layered and complex Motherline stories. My first glimpse of Helen Hardin’s creative process was through her image Visions of Heavenly Flight (see Figure1) which I had discovered serendipitously at the Institute of American Indian Art in Santa Fe, New Mexico. I could not stop looking at this piece and would come back to it several times in that afternoon. What was my attraction? I had always Hardin 2 loved the Hopi and Pueblo myth of the eagle as the sacred guardian of the sky, the one who has direct access to the sun Kachina, universal harmony, and the creator. -
****************4******************************* * Reproauctions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 371 771 IR 055 109 AUTHOR Haynes, Kathleen J. M. TITLE Cataloging and Classification for the Small Library. Second Edition. Revised and Enlarged. INSTITUTION New Mexico State Library, Santa Fe. PUB DATE Oct 93 NOTE 167p. AVAILABLE FROMNew Mexico State Library, 325 Don Gaspar, Santa Fe, NM 87503 (available on computer disc, in braille, and large print). PUB TYPE Guides Non-Classroom Use (055) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Authority Control (Information); Bibliographic Records; *Cataloging; *Classification; Filing; Information Processing; Library Automation; Library Catalogs; Library Materials; *Library TeciLlical Processes; Subject Index Terms; Vendors IDENTIFIERS Examples; New Mexico; *Small Libraries ABSTRACT The purpose of this manual is to explain some of the basics of cataloging and classification for many types of library materials in small libraries. The ideas presented were gathered from practical applications in small libraries and from examples in standard cataloging and classification tools. The manual is designed for self instruction. There are five parts sequenced to guide the user through the cataloging process:(1) "The Cataloging Process" covers bibliographic control and the bibliographic record; (2) "Technical Services Procedures" examines automation and cataloging, filing, children's materials, and technical procedures; (3) "Descriptions" examines areas, levels, and rules of description; (4) "Access Points" covers main and added entries, headings, uniform titles, and authority control; and (5) "Subject Analysis" addresses the use of existing catalog copy, verifying headings, assigning subject headings, the structure of "Sears List of Subject Headings," materials needing special treatment, and classification. Each chapter contains exercises to complete and examples to help illustrate points. -
For Immediate Release Objects
FOR IMMEDIATE RELEASE OBJECTS: REDUX—50 Years of Craft Evolution January 31–March 27, 2020 VIP PREVIEW: RSVP ONLY Thursday, January 30, 5 -7pm OPENING NIGHT Friday, January 31, 5 -7pm CURATOR’S TALK WITH KATHRYN HALL Saturday, February 1, 2pm SCREENING & ROUNDTABLE DISCUSSION Saturday, March 14, 2pm © J. Fred Woell FROM 1969 TO TODAY: 50 YEARS OF CRAFT EVOLUTION (January 2020) form & concept is thrilled to present OBJECTS: REDUX—50 Years of Craft Evolution, featuring over 70 pieces by seminal historical and contemporary craft artists, including J. Fred Woell, Sonya Clark, Ken Cory, Raven Halfmoon, Nicki Green, Jennifer Ling Datchuk and Kat Cole, among others. Ranging from textile, jewelry, metal, and enamel to wood, ceramics and glass, the exhibition positions work from the original 1969 OBJECTS: USA show alongside innovative craft objects and wearables by contemporary makers. In 1969, the Smithsonian American Art Museum debuted OBJECTS: USA, a sprawling exhibition featuring 308 craft artists and over 500 objects. The show would travel the United States and Europe, vaulting craft into the contemporary art milieu and forever changing the way we view material culture. Fifty years later, this tribute exhibition incorporates work by artists in the original display alongside historic and contemporary makers who expand upon and complicate the conversation. If OBJECTS: USA first established the field of craft as a vital component of the fine art world conversation, OBJECTS: REDUX demonstrates not only modern craft artists’ keen sense and appreciation of their predecesors, but also the field’s ongoing spirit of boundary-defying inventiveness and material resourcefulness. Curator William Dunn writes, “It’s wonderful to be a part of this show’s continued legacy. -
Book Review, Pablita Velarde: in Her Own Words; Helen Hardin
Books GUEST REVIEW BY PETER BG SHOEMAKER PABLITA VELARDE: In Her Own Words BY SHELBY J. TISDALE HELEN HARDIN: A Straight Line Curved BY KATE NELSON TEACHING MY SPIRIT TO FLY BY MARGARETE BAGSHAW (Little Standing Spruce Publishing, 2012) Margarete Bagshaw is the granddaughter relationship with her daughter, Helen Har- little to do with that world. Of course, the of Pablita Velarde and the daughter of din, and made things difficult when Helen, colorful geometries of Hardin’s greatest Helen Hardin—two of New Mexico’s too, began to paint. As Tisdale shows, in works demonstrate the futility of that best-known women painters. After years the end what mattered most was family— position. Awards and honors followed, as of doing other things, Bagshaw took up not the traditional family of disapproving well as exhibitions around the world—but, the brush and is now a well-respected cousins and spouses, and tribal members again, not without cost. Despite Hardin’s painter in her own right. Of the opinion locked forever in the way things were and present reputation as a fearless and outspo- that all three women have been ill served ought to be, but rather the much smaller ken artist, woman, and critic, Nelson shows by biographers, Bagshaw seeks to set the family of those who understood what was also the woman who found solace from her record straight by publishing this three- at stake, and what was important. hidden fears in alcohol and drugs. Hardin volume set by three authors. Kate Nelson, a former journalist and died in 1984, of cancer, leaving a legacy Shelby Tisdale, former director of the now marketing director at the New Mexico that continues to find new appreciation New Mexico Museum of Indian Arts and Museum of History, takes up the story of among artists and collectors. -
FJJMA-Bialac Collection Sept 2012
NEWS RELEASE September 4, 2012 FRED JONES JR. MUSEUM OF ART UNIVERSITY OF OKLAHOMA - NORMAN CONTACT MICHAEL BENDURE, Director of Communication, 405-325-3178, [email protected] FAX: 405-325-7696 www.ou.edu/fjjma University of Oklahoma Announces Fall Celebration of James T. Bialac Native American Art Collection NORMAN, Okla. – The Fred Jones Jr. Museum of Art at the University of Oklahoma opens The James T. Bialac Native American Art Collection: Selected Works and Indigenous Aesthetics: Selections from the James T. Bialac Native American Art Collection in September. The collection, a gift from James T. Bialac of Arizona, contains more than 4,000 works representing indigenous cultures across North America, especially the Pueblos of the Southwest, the Navajo, the Hopi, many of the tribes of the Northern and Southern Plains and the Southeastern tribes. There are approximately 2,600 paintings and works on paper, 1,000 kachinas and 100 pieces of jewelry representing major Native artists such as Fred Kabotie, Awa Tsireh, Fritz Scholder, Joe Herrera, Allan Houser, Jerome Tiger, Tonita Pena, Helen Hardin, Pablita Velarde, George Morrison, Richard “Dick” West, Patrick DesJarlait and Pop Chalee. “The opening of the exhibition of the James T. Bialac collection gives the university the opportunity to celebrate Jim Bialac’s incredible generosity and his commitment to increased understanding and appreciation of Native American art,” said OU President David L. Boren. As part of the opening, the museum will offer complimentary admission Saturday, Sept. 22. A community celebration is scheduled from 1 to 6 p.m. Sunday, September 23, featuring artist demonstrations by Tony Abeyta, Anita Fields, Benjamin Harjo Jr., Linda Lomahaftewa and America Meredith.