Vol. 34 No. 3 Seal of the Seminole Nation by the Editor
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A Five Minute History of Oklahoma
Chronicles of Oklahoma Volume 13, No. 4 December, 1935 Five Minute History of Oklahoma Patrick J. Hurley 373 Address in Commemoration of Wiley Post before the Oklahoma State Society of Washington D. C. Paul A. Walker 376 Oklahoma's School Endowment D. W. P. 381 Judge Charles Bismark Ames D. A. Richardson 391 Augusta Robertson Moore: A Sketch of Her Life and Times Carolyn Thomas Foreman 399 Chief John Ross John Bartlett Meserve 421 Captain David L. Payne D. W. P. 438 Oklahoma's First Court Grant Foreman 457 An Unusual Antiquity in Pontotoc County H. R. Antle 470 Oklahoma History Quilt D. W. P. 472 Some Fragments of Oklahoma History 481 Notes 485 Minutes 489 Necrology 494 A FIVE MINUTE HISTORY OF OKLAHOMA By Patrick J. Hurley, former Secretary of War. From a Radio Address Delivered November 14, 1935. Page 373 The State of Oklahoma was admitted to the Union 28 years ago. Spaniards led by Coronado traversed what is now the State of Oklahoma 67 years before the first English settlement in Virginia and 79 years before the Pilgrims landed at Plymouth Rock. All of the land now in Oklahoma except a little strip known as the panhandle was acquired by the United States from France in the Louisiana Purchase. Early in the nineteenth century the United States moved the five civilized tribes, the Cherokees, Creeks, Choctaws, Chickasaws, and Seminoles, from southeastern states to lands west of the Mississippi River, the title to which was transferred to the tribes in exchange for part of their lands in the East. -
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. -
Ally, the Okla- Homa Story, (University of Oklahoma Press 1978), and Oklahoma: a History of Five Centuries (University of Oklahoma Press 1989)
Oklahoma History 750 The following information was excerpted from the work of Arrell Morgan Gibson, specifically, The Okla- homa Story, (University of Oklahoma Press 1978), and Oklahoma: A History of Five Centuries (University of Oklahoma Press 1989). Oklahoma: A History of the Sooner State (University of Oklahoma Press 1964) by Edwin C. McReynolds was also used, along with Muriel Wright’s A Guide to the Indian Tribes of Oklahoma (University of Oklahoma Press 1951), and Don G. Wyckoff’s Oklahoma Archeology: A 1981 Perspective (Uni- versity of Oklahoma, Archeological Survey 1981). • Additional information was provided by Jenk Jones Jr., Tulsa • David Hampton, Tulsa • Office of Archives and Records, Oklahoma Department of Librar- ies • Oklahoma Historical Society. Guide to Oklahoma Museums by David C. Hunt (University of Oklahoma Press, 1981) was used as a reference. 751 A Brief History of Oklahoma The Prehistoric Age Substantial evidence exists to demonstrate the first people were in Oklahoma approximately 11,000 years ago and more than 550 generations of Native Americans have lived here. More than 10,000 prehistoric sites are recorded for the state, and they are estimated to represent about 10 percent of the actual number, according to archaeologist Don G. Wyckoff. Some of these sites pertain to the lives of Oklahoma’s original settlers—the Wichita and Caddo, and perhaps such relative latecomers as the Kiowa Apache, Osage, Kiowa, and Comanche. All of these sites comprise an invaluable resource for learning about Oklahoma’s remarkable and diverse The Clovis people lived Native American heritage. in Oklahoma at the Given the distribution and ages of studies sites, Okla- homa was widely inhabited during prehistory. -
Native American Painters and Sculptors in the Twentieth Century, 1991
BILLIE JANE BAGULEY LIBRARY AND ARCHIVES HEARD MUSEUM 2301 N. Central Avenue ▪ Phoenix AZ 85004 ▪ 602-252-8840 www.heard.org Shared Visions: Native American Painters and Sculptors in the Twentieth Century, 1991 RC 10 Shared Visions: Native American Painters and Sculptors in the Twentieth Century 2 Call Number: RC 10 Extent: Approximately 3 linear feet; copy photography, exhibition and publication records. Processed by: Richard Pearce-Moses, 1994-1995; revised by LaRee Bates, 2002. Revised, descriptions added and summary of contents added by Craig Swick, November 2009. Revised, descriptions added by Dwight Lanmon, November 2018. Provenance: Collection was assembled by the curatorial department of the Heard Museum. Arrangement: Arrangement imposed by archivist and curators. Copyright and Permissions: Copyright to the works of art is held by the artist, their heirs, assignees, or legatees. Copyright to the copy photography and records created by Heard Museum staff is held by the Heard Museum. Requests to reproduce, publish, or exhibit a photograph of an art works requires permissions of the artist and the museum. In all cases, the patron agrees to hold the Heard Museum harmless and indemnify the museum for any and all claims arising from use of the reproductions. Restrictions: Patrons must obtain written permission to reproduce or publish photographs of the Heard Museum’s holdings. Images must be reproduced in their entirety; they may not be cropped, overprinted, printed on colored stock, or bleed off the page. The Heard Museum reserves the right to examine proofs and captions for accuracy and sensitivity prior to publication with the right to revise, if necessary. -
Oklahoma Women
Oklahomafootloose andWomen: fancy–free Newspapers for this educational program provided by: 1 Oklahoma Women: Footloose and Fancy-Free is an educational supplement produced by the Women’s Archives at Oklahoma State University, the Oklahoma Commission on the Status of Women and The Oklahoman. R. Darcy Jennifer Paustenbaugh Kate Blalack With assistance from: Table of Contents Regina Goodwin Kelly Morris Oklahoma Women: Footloose and Fancy-Free 2 Jordan Ross Women in Politics 4 T. J. Smith Women in Sports 6 And special thanks to: Women Leading the Fight for Civil and Women’s Rights 8 Trixy Barnes Women in the Arts 10 Jamie Fullerton Women Promoting Civic and Educational Causes 12 Amy Mitchell Women Take to the Skies 14 John Gullo Jean Warner National Women’s History Project Oklahoma Heritage Association Oklahoma Historical Society Artist Kate Blalack created the original Oklahoma Women: watercolor used for the cover. Oklahoma, Foot-Loose and Fancy Free is the title of Footloose and Fancy-Free Oklahoma historian Angie Debo’s 1949 book about the Sooner State. It was one of the Oklahoma women are exciting, their accomplishments inspirations for this 2008 fascinating. They do not easily fi t into molds crafted by Women’s History Month supplement. For more on others, elsewhere. Oklahoma women make their own Angie Debo, see page 8. way. Some stay at home quietly contributing to their families and communities. Some exceed every expectation Content for this and become fi rsts in politics and government, excel as supplement was athletes, entertainers and artists. Others go on to fl ourish developed from: in New York, California, Japan, Europe, wherever their The Oklahoma Women’s fancy takes them. -
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. -
Automobiles Performing the Trickster in Modern and Contemporary Work by Artists
Not Your Grandfather’s Horse: Automobiles Performing the Trickster in Modern and Contemporary Work by Artists from Plains Cultures By AARON MOSES Bachelor of Arts in History A&M University Corpus Christi Corpus Christi, Texas 2014 Submitted to the Faculty of the Graduate College of Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2017 NOT YOUR GRANDFATHER’S HORSE: AUTOMOBILES PERFORMING THE TRICKSTER IN MODERN AND CONTEMPORARY WORK BY ARTISTS FROM PLAINS CULTURES Thesis Approved: Dr. Louise Siddons Thesis Adviser Dr. Irene Backus Dr. Douglas Miller *--Delete this paragraph before submission—Type Committee Member names on the Approval page of the electronic copy. If Dr. is used for one name, a similar title must appear on all names. ii ACKNOWLEDGEMENTS A special thanks to Dr. Louise Siddons, Dr. Douglas Miller, and the entire Art History department of Oklahoma State University for supporting the creation of this thesis; to my father and grandfather, for inspiring my interest in automobiles at a young age; and to my Jeep, whose regular maintenance issues never ceased to promote an appreciation for the importance of mobility. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. Name: Aaron Moses Date of Degree: May, 2017 Title of Study: Not Your Grandfather’s Horse: Automobiles Performing the Trickster in Modern Modern and Contemporary Work by Artists from Plains Cultures Major Field: Art History Abstract: The automobile is a recurring motif among modern and contemporary Native American artists that has gone severely understudied. -
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. -
ENGR. S. C. R. NO. 11 Page 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
1 ENGROSSED SENATE CONCURRENT 2 RESOLUTION NO. 11 By: Easley, Adelson, Aldridge, Anderson, Ballenger, 3 Barrington, Bass, Bingman, Branan, Brogdon, Brown, 4 Burrage, Coates, Coffee, Corn, Crain, Crutchfield, 5 Eason McIntyre, Ellis, Ford, Garrison, Gumm, 6 Halligan, Ivester, Johnson (Constance), Johnson 7 (Mike), Jolley, Justice, Lamb, Laster, Leftwich, 8 Lerblance, Marlatt, Mazzei, Myers, Newberry, 9 Nichols, Paddack, Reynolds, Rice, Russell, 10 Schulz, Sparks, Stanislawski, Sweeden, 11 Sykes, Wilson and Wyrick of the Senate 12 and 13 Sherrer of the House 14 15 16 17 A Concurrent Resolution recognizing the artistic ability of Willard Stone; encouraging viewing of the 18 Stone exhibit at the Gilcrease Museum; and directing distribution. 19 20 21 WHEREAS, Sculptor Willard Stone was born on February 29, 1916, 22 at Oktaha, near Muskogee, Oklahoma. He was educated in Oktaha 23 public schools. His father died when Willard was an infant, leaving 24 his mother to support the family by working as a sharecropper. As ENGR. S. C. R. NO. 11 Page 1 1 an early teen, he suffered the loss of nearly half of his right hand 2 in an accident and withdrew from school. However, his natural 3 talent as a sculptor prevailed and, at the urging of his friends, 4 Stone entered his works at fairs in Muskogee and Okmulgee. Oklahoma 5 historian Grant Foreman saw Stone’s work and, impressed with his 6 artistic abilities, successfully convinced the young man to enroll 7 at Bacone College; and 8 WHEREAS, Stone stayed at the school from 1936 to 1939 where he 9 was mentored by Acee Blue Eagle and Woodrow Crumbo. -
Register of Historic Places Inventory -Nomination Form
Form No. 10-300 REV. (9/77) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -NOMINATION FORM SEE INSTRUCTIONS IN HOWTO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS [NAME dsf HISTORIC r Brown*. /Jacksonl^House AND/OFt^OMMON 7 LOCATION _NOT FOR PUBLICATION CITY, TOWN CONGRESSIONAL DISTRICT Wewoka .VICINITY OF 3 STATE CODE COUNTY CODE rVH aV»/-oina 40 Seminole 133 HCLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE —DISTRICT —PUBLIC —OCCUPIED —AGRICULTURE —MUSEUM _XBUILDING(S) PRIVATE 2LJJNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL ^PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT _RELIGIOUS —OBJECT X-IN PROCESS X-YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED —YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO —MILITARY —OTHER: OWNER OF PROPERTY NAME Alice Mohr STREET & NUMBER 953 6th Street, Apt. 10 CITY, TOWN STATE Santa Monica, VICINITY OF California LOCATION OF LEGAL DESCRIPTION COURTHOUSE, REG.STRYOFDEED3,ETC. Seminole CQUnty Court HOUSe STREET & NUMBER County Clerk's Office CITY, TOWN STATE Seminole Oklahoma TtTLE Oklahoma Comprehensive Survey DATE July 1979 —FEDERAL -j^STATE __COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Oklahoma Historical Society CITY, TOWN STATE Oklahoma City Oklahoma. CHECK ONE —EXCELLENT —DETERIORATED —UNALTERED XXGOOD —RUINS X3<ERED —MOVED DATE. —FAIR — UNEXPOSED The Jackson Brown House is constructed of rough hewn peg and post connected timber, which was erected in a two and one half story design, with a full basement. It is the only construction of its kind in Seminole County. The frame members are rough hewn cedar transported from Muskogee and Arkansas. The house was the first in Wewoka in the old Seminole Nation. -
Muscogee Constitutional Jurisprudence: Vhakv Em Pvtakv (The Ac Rpet Under the Law) Sarah Deer Mitchell Hamline School of Law, [email protected]
Mitchell Hamline School of Law Mitchell Hamline Open Access Faculty Scholarship 2013 Muscogee Constitutional Jurisprudence: Vhakv Em Pvtakv (The aC rpet Under The Law) Sarah Deer Mitchell Hamline School of Law, [email protected] Cecilia Knapp [email protected] Publication Information 49 Tulsa Law Review 123 (2013) Repository Citation Deer, Sarah and Knapp, Cecilia, "Muscogee Constitutional Jurisprudence: Vhakv Em Pvtakv (The aC rpet Under The Law)" (2013). Faculty Scholarship. Paper 257. http://open.mitchellhamline.edu/facsch/257 This Article is brought to you for free and open access by Mitchell Hamline Open Access. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. Muscogee Constitutional Jurisprudence: Vhakv Em Pvtakv (The aC rpet Under The Law) Abstract In 1974, a group of Mvskoke citizens from Oklahoma sued the federal government in federal court. Hanging in the balance was the future of Mvskoke self-determination. The lp aintiffs insisted that their 1867 Constitution remained in full effect, and that they still governed themselves pursuant to it. The nitU ed States argued that the constitution had been nullified by federal law passed in the early 1900s. To find in favor of the plaintiffs, the court would have to rule that the United States had been ignoring the most basic civil rights of Mvskoke citizens and flouting the law for over seventy years. It would also have to find that a tribal government had been operating legitimately in the shadows—that the Mvskoke people had continued to operate under their constitution for most of the twentieth century despite official federal antagonism. -
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.