America Meredith

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AMERICA MEREDITH Tribal Affiliation: Cherokee Contact Exhibit C Native Gallery & Gifts for pricing America Meredith is the publishing editor of First American Magazine and is an educator, author, artist and independent curator whose curatorial practice spans more than two decades. Meredith earned her Master of Fine Arts degree from San Francisco Art Institute and her Bachelor of Fine Arts with distinction from the University of Oklahoma. She has taught art history courses at the Institute of American Indian Arts, Santa Fe Community College and the Cherokee Humanities Clemente Program. Meredith has exhibited across the United States as well as internationally. Her work is in major public collections including those of the National Museum of the American Indian, National Collection of Contemporary Indian Arts, Cherokee Nation Historical Society, Eiteljorg Museum, Fred Jones Jr. Museum of Art, Heard Museum, Red Cloud Heritage Center, Southern Plains Indian Museum, St. Paul’s Cathedral, Sequoyah National Research Center and Tweed Museum of Art. In the last 20 years, Meredith has won numerous awards at the Heard Museum, SWAIA’s Indian Market, Cherokee Heritage Center, Cahokia Mounds and other competitive shows. She was a National Museum of the American Indian Fellow in 2009, won the IAIA Distinguished Alumni Award for Excellence in Contemporary Native American Arts in 2007 and was voted SF Weekly’s Painter of the Year in 2006. Currently, Meredith serves on the board of the Wheelwright Museum of the American Indian and the Cherokee Arts and Humanities Council. She is represented by Spider Gallery in Tahlequah, Oklahoma, and Rainmaker Art Gallery in Bristol, England, United Kingdom. 1. “Predicament” / Linocut / 15H x 12W 1 .

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Founding Membership List
Founding Members of the Guardians of Culture Membership Group Institutions and Affiliated Organizations Agua Caliente Band of Cahuilla Indians Alaska Native Language Archive Alcatraz Cruises Aleutian Pribilof Islands Association, Inc. ASU American Indian Policy Institute Audrey and Harry Hawthorn Library and Archives, UBC Museum of Anthropology Barona Cultural Center & Museum Caddo Heritage Museum Cheyenne & Arapaho Tribes of Oklahoma Chickasaw Nation Cultural Center Confederated Tribes of Siletz Indians Confederated Tribes of the Colville Reservation Dine College Dr. Fernando Escalante Community Library & Resource Center Eastern Shawnee Tribe of Oklahoma Federated Indians of Graton Rancheria George W. Brown Jr. Ojibwe Museum and Cultural Center Hopi Tutuquyki Sikisve Huna Heritage Foundation International Buddhist Ethics Committee & Buddhist Tribunal on Human Rights Iowa Tribe of Oklahoma John G. Neihardt State Historic Site KCS Solutions, Inc. Maitreya Buddhist University Midwest Art Conservation Center Muckleshoot Indian Tribe Museo + Archivio, Inc. Museum Association of Arizona National Museum of the American Indian Newberry Library Noksi Press Osage Tribal Museum Papahana Kuaola Pawnee Nation College Pechanga Cultural Resources Department Poarch Creek Indians Quatrefoil Associates Chippewas of Rama First Nation Southern Ute Cultural Center and Museum Southwestern Indian Polytechnic Institute Speaking Place Tantaquidgeon Museum The Archives of Traditional Music, Indiana University The Autry National Center of the American West The
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© 2013 University of Oklahoma School of Art All rights reserved. Published 2013. First Edition. Published in America on acid free paper. University of Oklahoma School of Art Fred Jones Center 540 Parrington Oval, Suite 122 Norman, OK 73019-3021 http://www.ou.edu/finearts/art_arthistory.html Cover: Ganiyegi Equoni-Ehi (Danger in the River), America Meredith. Pages iv-v: Silent Screaming, Roy Boney, Jr. Page vi: Top to bottom, Whirlwind; Claflin Sun-Circle; Thunder,America Meredith. Page viii: Ayvdaqualosgv Adasegogisdi (Thunder’s Victory),America Meredith. Traditional Themes in Contemporary Cherokee Art Traditional Themes in Contemporary Cherokee Art xi Foreword MARY JO WATSON xiii Introduction HEATHER AHTONE 1 Chapter 1 CHEROKEE COSMOLOGY, HISTORY, AND CULTURE 11 Chapter 2 TRANSFORMATION OF TRADITIONAL CRAFTS AND UTILITARIAN ITEMS INTO ART 19 Chapter 3 CONTEMPORARY CHEROKEE ART THEMES, METHODS, AND ARTISTS 21 Catalogue of the Exhibition 39 Notes 42 Acknowledgements and Contributors 43 Bibliography Foreword "What About Indian Art?" An Interview with Dr. Mary Jo Watson Director, School of Art and Art History / Regents Professor of Art History KGOU Radio Interview by Brant Morrell • April 17, 2013 Twenty years ago, a degree in Native American Art and Art History was non-existent. Even today, only a few universities offer Native Art programs, but at the University of Oklahoma Mary Jo Watson is responsible for launching a groundbreaking art program with an emphasis on the indigenous perspective. You expect a director of an art program at a major university to have pieces in their office, but entering Watson’s workspace feels like stepping into a Native art museum.
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The Clemente Course in the Humanities;' National Endowment for the Humanities, 2014, Web
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garters are primarily sewn on blue or red brought in 18th-century southeastern wool stroud, backed by calico. beadwork from Scotland that had not been in the Americas in over two centuries. She White is the predominant color for the brought in the work of other southeastern beads; imported glass beads replaced beadworkers, such as Jerry Ingram and precontact pearl and shell beads. Many Brian Zepeda. designs are simply red, blue, and black, but others have wild palettes of pinks, Seeing was believing. While still only Stitches greens, golds, pastels—all arranged for a few dozen people bead Southeastern maximum visual impact. The fluid designs Woodlands-style beadwork, the are abstract, floral, zoomorphic, and very numbers are far larger than they were rarely anthropomorphic. They have been 15 years ago, and the knowledge of the compared to one-celled organisms viewed beadwork among the tribes has jumped through a microscope. exponentially. I interviewed four beadwork artists instrumental in this in Time: The “Golden Era” of Southeastern remarkable revival to get their stories. Woodlands beadwork was the late 18th century until the Removal Era in the The Rebirth of 1830s. Alabama, Koasati, Cherokee, Jerry Ingram Chickasaw, Choctaw, Muscogee Creek, “When I was a kid, I was interested in Natchez, Seminole, and Yuchi people were beadwork,” says Jerry Ingram, “and the forcibly removed from their southeastern Southeastern only place I saw any was the department homelands to Indian Territory, now Jerry Ingram (Choctaw). Photo: A. Meredith store in Idabel.” An enrolled member of Oklahoma. Some tribes stayed in the the Choctaw Nation of Oklahoma, Ingram southeast, and today Southeastern with Powwow Highway.
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Download the 516 ARTS 2013 Air Land Seed Catalog
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