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Five Museums | the Taos News
5/15/2020 Five Museums | The Taos News (/) Search … ADVANCED SEARCH (/SEARCH.HTML) GALLERY GUIDE Five Museums (/uploads/original/20200406-150431-Davison.jpg) Davison Koenig, the Couse-Sharp Historic Site executive director and curator COURTESY https://www.taosnews.com/stories/taos-society-of-artists-couse-sharp-historic-taos-art-museum-harwood-millicent-rogers-lunder-research-center-blumenschein,63198? 1/4 5/15/2020 Five Museums | The Taos News Posted Thursday, April 16, 2020 1:29 pm By Dena Miller To some it may seem inexplicable why Taos--a tiny town nestled in New Mexico’s high mountain desert-- became the vortex for an American art movement of such national and international significance over the course of a century. But to Davison Koenig, the Couse-Sharp Historic Site executive director and curator, it’s perfectly understandable. “The arrival of those who would come to be known as the Taos Society of Artists was a perfect storm of circumstances, the timing of which coincided with a burgeoning interest in the American Southwest,” he said. “They didn’t just visit here; they settled here. And so they became a colony with a common and concerted vision, which was to share with the rest of the world an authentic depiction of Native culture and the American Southwest landscape.” Today, the site--owned and operated by The Couse Foundation and including the homes and studios of founding artists E. Irving Couse and J. H. Sharp--is a fascinating step back into time, but is poised to become the future’s singular research center dedicated to Taos as one of the most important art colonies in the country’s history. -
Crow's Shadow Institute of the Arts
C R O W ' S S H A D O W I N S T I T U T E of T H E A R T S Crow’s Shadow Institute of the Arts at 25 Teachers Guide Hallie Ford Museum of Art September 16 – December 22, 2017 This guide is to help teachers prepare students for a field trip to the exhibition, Crow’s Shadow Institute of the Arts at 25, to offer ways to lead their own tours; and to propose ideas to reinforce the gallery experience and broaden curriculum concepts. Teachers, however, will need to consider the level and needs of their students in adapting these materials and lessons. Goals • To introduce students to Crow’s Shadow Institute of the Arts • To introduce students to the work of artists featured in the exhibition • To examine formal and narrative aspects of works featured in the exhibition • To explore techniques and processes featured in the exhibition • To explore the variety of themes in the exhibition Objectives Students will be able to: • Discuss the importance of Crow’s Shadow Institute of the Arts as a center for artistic creativity as well as a conduit for educational, social, and economic opportunities for Native Americans through artistic development. • Discuss the technique of lithography, as well as the processes of monoprints and monotypes. • Discuss how the individual artists use the parts and principles of art in his or her work. • Discuss the expressive and narrative qualities of the individual works in the exhibition and how they relate to the themes in the exhibition. -
Contact My IAIA
4/15/2015 Marie Watt | IAIA Contact My IAIA IAIA CLE ABOUT HOME VISIT EXHIBITIONS COLLECTION VISION PROJECT GIVING MUSEUM NEWS SEARCH MARIE WATT Vision Project Artists By Gail Tremblay Authors Marie Watt is an artist of Seneca, Scottish, and German ancestry. Manifestations Her art explores the confluence of myth, history and memory Curriculum Guide drawing from ancient and modern stories. In her most recent body of work, she employs the blanket as both material and metaphor. Used as gifts at naming ceremonies and memorials, blankets have a particular set of meanings in the American Indian community making their use as an art material particularly evocative. Watt conceives of blankets as both wall‐related, two‐dimensional objects that can be stitched to create tapestry—as in Ballad of Ira Hayes (2008)—or as materials that can be piled on pedestals between floor and ceiling as in Blanket Stories: Three Sisters, Cousin Rose, Four Pelts, and Sky Woman (2005). Ballad of Ira Hayes honors the Pima World War II veteran, placing his face before a symbol of his people—the man in the maze. In the lower right hand corner the viewer can see the portraits of the four other marines and the navy corpsman that raised the United States flag over Mt. Suribachi on Iwo Jima with Hayes. The use of army blankets as one of the materials for the piece adds a nuanced meaning. Blankets can also be slit and sewn into webs to create large three‐ Blanket Stories: Three Sisters, Cousin Rose, Four Pelts, and Sky Woman (detail), 2005, Stacked and folded wool dimensional objects like her dynamic work, Forget‐me‐not: blankets, salvaged cedar, Approx. -
CITY FOCUS by Kelly Skeen
CITY FOCUS by Kelly Skeen ery few art communities have the lifespan and in Europe, active in Paris during the rise of impressionism significance of Taos, New Mexico. The historic and highly connected in New York’s gallery scene, these V town, nestled in the shadows of the Sangre de Cristo artists collectively began seeking subjects to paint that Mountains, has been a haven for artists since the early 19th were uniquely American. Breaking from conventional century and its romantic reputation continues today. Artists Eastern painting styles, the TSA fostered what they felt to migrate to Taos for the same reasons the Pueblo Indians be the “new American art.” The Southwest landscape and settled there long before: the light, the land and the quiet Native culture dominated the subject matter for these early vastness of the southwest. From early Taos founders to artists who were revolutionary for their time not only for trendsetting Taos Moderns, the diversified community served introducing a new, locally inspired color palette, but for as an escape and a rebellion from established coastal art softening the Wild West mentality of American art. “Up scenes and busy city centers. The same sentiments exist until that point, the American identity was remembered today as creative voices carry on the legacy of the area’s for its dramatic cowboy and Indian motif,” says Davison rich art history with independent perspectives. These Koenig, executive director and curator of the Couse-Sharp perspectives, however, are derived from Taos’ unchanged Historic Site in Taos. “The TSA had a more romanticized bohemian attitude and surrounding natural beauty that vision. -
The History and Preservation of the Acequia Madre Del Río Pueblo
The history and preservation of the Acequia del Madre del Río Pueblo, Taos, New Mexico A publication of The Paseo Project in support of the Friends of the Acequia Madre P | 1 The Paseo Project is excited to present Acequia Aquí: The history and preservation of the Acequia Madre del Río Pueblo. The essay and series of maps illuminate the deteriorating acequia network at the heart of the town of Taos. Through community collaborations, The Paseo Project seeks to educate, illuminate and support this historic and culturally important public infrastructure. Through this exploration, the Paseo Project seeks to transform our community by celebrating the downtown acequia network through creative and artistic events and installations. With the help of this booklet, we hope that you will better understand the history and value the acequia system has provided to our community and imagine with us new ways that we can celebrate the gift of their presence. – The Paseo Project Team table of contents: This project was made possible by the LOR Foundation essay: The Acequia Madre del Río Pueblo in the support of the Acquia Madre del Pueblo. by Sylvia Rodríguez. .1-6 faces of the acequia: Eloy Jeantete . 2 map of the Acequia Madre del Río Pueblo. 3 We’d like to give special thanks to the following people: Charles Chacon J.R. Logan Charles Chacon faces of the acequia: George Trujillo . .4 Jim Schlarbaum Gina Azzari Barbara Scott Sylvia Rodriguez Eloy Jeantete LOR Foundation map A | Acequia Madre del Juanita Lavadie George Trujillo Friends of the Acequia Madre Río Pueblo Headgate . -
In Conversation with Marie Watt: a New Coyote Tale by Marie Watt / October 19, 2017 / Current Issue, Features, Highlighted Content
Contemporary Projects A PUBLICATION OF Texts + Documents Conversations Search News + Notes About Art Journal Submissions « Previous / Next » In Conversation with Marie Watt: A New Coyote Tale By Marie Watt / October 19, 2017 / Current Issue, Features, Highlighted Content — Installation view, Unsuspected Possibilities: Leonardo Drew, Sarah Oppenheimer, and Marie Watt, 2015, SITE Santa Fe, July 2015–January 2016 (artwork © Marie Watt; photograph by Kate Russell, provided by SITE Santa Fe) The gallery, with installations by the three artists, was configured to evoke the footprint of a longhouse, a form of architecture built by the Haudenosaunee (Iroquois Nation). “I made my piece in collaboration with the Santa Fe Indian School, Santa Fe University of Art and Design, Tierra Encantada High School, Institute of American Indian Arts, and other members of the Santa Fe community. I was initially inspired by research into the Mohawk ironworkers who built many of Manhattan’s skyscrapers, an abstract correlation between the structure of the longhouse and the structure of the skyscraper, and the dense living communities and neighborliness that result from both.” Marie Watt first encountered Joseph Beuys’s work as a college student studying abroad. While working on an MFA at Yale, she wrote a reflection on the artist’s I Like America and America Likes Me from the perspective of Coyote, for a course taught by the art historian Romy Golan. In Beuys’s infamous 1974 performance, the German artist spent several days in an enclosed space at New York’s René Block Gallery with a live coyote, a large piece of wool felt, straw, gloves, a shepherd’s staff, and fifty copies of the Wall Street Journal, delivered daily during the performance. -
2017 Oregon Governor's Arts Awards Program
GOVERNOR’S ARTS AWARDS FRIDAY, OCTOBER , MESSAGE FROM THE GOVERNOR KATE BROWN Governor Dear Arts Supporters, I am honored to welcome you to the 2017 Governor’s Arts Awards. The Oregon Arts Commission has made sure art is a part of our daily lives for the past 50 years. In honor of this historic anniversary, I am proud to reinstate the Governor’s Arts Awards and to once again honor artists and organizations that make outstanding contributions to the arts in Oregon. Art is a fundamental ingredient of any thriving and vibrant community. Art sparks connections between people, movements and new ideas. Here in Oregon, the arts enrich our quality of life and local economies, helping form our great state’s unique identity. Not only that, art education is key in fostering a spirit of creativity and innovation in our youth. I want to thank each of you for being a part of this community, making Oregon more beautiful, more alive every day. Each of today’s Arts Awards recipients has touched the lives of thousands of Oregonians in meaningful ways. They were selected through a highly competitive process from a field of 110 worthy nominees and are extremely deserving of this honor. I thank them for making Oregon a better and more beautiful place and ask you to join with me in celebrating their achievements. Sincerely, Governor Kate Brown PROGRAM WELCOME Christopher Acebo • Chair, Oregon Arts Commission PERFORMANCE BRAVO Youth Orchestras & Darrell Grant AWARDS Presented by Governor Kate Brown COMMUNITY AWARD Crow’s Shadow Institute of the Arts LIFETIME ACHIEVEMENT AWARD Arvie Smith PHILANTHROPY AWARD The James F. -
Taos Art and Cultural Consortium: 2017 Taos
Taos Art and Cultural Consortium: 2017 Taos Stories & Legends (Final Draft, 3/15/17) Bringing visitors to Taos for more than a single day A calendar of activities, events, programs and exhibitions compiled by the Taos Arts Council JANUARY - FEBRUARY January – May 21 Continuum: Light, Space and Time The Harwood Museum of Art, 238 Ledoux St. January – March 5 San Francisco in Taos 203 FINE ART, 1335 Gusdorf Rd. Suite I (Open by appointment, 575-751-1262) Opening reception February 18, 5-7pm Artists from The San Francisco School of Abstract Expressionism who then lived and worked in Taos; Lawrence Calcagno, Edward Corbett, Lilly Fenichel, Charles Strong and Clay Spohn. January 17 – March 12 Members Open Encore Gallery The Taos Center for the Arts features 20”x20” entries from its member artists. Taos Community Auditorium, 133 Paseo del Pueblo Norte. January 27 – March 31 Taos Artists in Public Spaces Town Hall, Taos Presented by Taos Arts Council featuring Taos County artists on the NMArts Art in Public Programs. Jonathan Blaustein (photography), JoAnne and Kevin DeKeuster(ceramics), Meredith Mason Garcia (photography), Mark Goebel (photography), Abby Salsbury (clay tiles) and Peggy Trigg (painting). January – April 16 People and Painters of the West Penetrating portraits highlight people of the land as well as those who painted them. Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte January – September 17 One Land, Many Visions Enjoy the breadth and depth of the many artistic visions inspired by Taos, its people and its landscapes from the Taos Society of Artists through the Taos Moderns. -
In a Town Steeped in History, It's Hard to Stop Anywhere That Doesn't Have A
THE FIRST WAVE OF PAINTERS D.H. Lawrence, Ansel Adams and Andrew Dasburg, all of In the late 1800s the landscape of the Southwest whom came to stay at her home in Taos. was a blank canvas that attracted a new generation of Today the Mabel Dodge Luhan house is still open American painters. American artists Joseph Sharp, Bert to visitors who want to immerse themselves in the Phillips and Ernest Blumenschein met studying painting history of the woman who helped craft the early arts in Paris, but each found his way to the small high-desert scene in Taos. Guests can stay in Luhan’s room or one of town of Taos, New Mexico. They were inspired to apply the rooms that housed luminaries such as Ansel Adams, Taos their European training to rendering the landscape Georgia O’Keeffe, Nicholai Fechin and D.H. Lawrence, & THE ENCHANTED CIRCLE of the Southwest in all of its exquisite color and to among others. The Mabel Dodge Luhan Inn and depicting the Native peoples who lived there. Conference Center also hosts workshops and retreats Sharp fi rst discovered Taos while on a sketching year round. They include ones on creativity, writing, trip on 1883. A few years later Phillips and Blumenschein photography, painting and yoga. were passing through the town their friend had told While many artists came and went from Luhan’s them so much about, and by sheer happenstance their home, Andrew Dasburg was a regular visitor, spending wagon broke down. While waiting part of every year in either Taos or for it to be fi xed, the two became Santa Fe. -
MIMI CHEN TING W W W
MIMI CHEN TING w w w . m i m i c h e n t i n g . c o m SELECTED SOLO EXHIBITIONS 2018 Mimi Chen Ting, Vedder Price, San Francisco, CA 2017 Willing to Fly, Jen Tough Gallery, Vallejo, California 2014 Strands, Art Beatus Consultancy Gallery, Vancouver, British ColuMbia, Canada 2013 On the Move, Hulse Warman Gallery, Taos, New Mexico In the Groove, Encore Gallery, Taos Center for the Arts, Taos, New Mexico Off the Wall, The Historical Taos Inn, Taos, New Mexico 2012 Continuum, Harwood MuseuM of Art, Curator’s Wall, Taos, New Mexico 2011 Twists and Turns, Art Beatus, Hong Kong, China 2008 Tangles and Ties, Art Beatus, Hong Kong, China Confetti, Loka Art Space, Taos, New Mexico 2007 D’Adamo/Woltz Gallery, Seattle, Washington 2005 Three Paintings, The Harwood MuseuM of Art, Taos, New Mexico Time Tracks, ThoMson Hall Gallery, Sausalito, California Belvedere-Tiburon Public Library, Tiburon, California 1999 Quantum Corporation Galleries, Milpitas, California 1997 Maude Kerne Art Center, Eugene, Oregon 1995 Art for the Wall, Los Gatos Fine Arts ComMission, Los Gatos, California 1994 New Works, d.p. Fong Galleries, San Jose, California 1993 New Works, Taos Fine Art Gallery, Taos, New Mexico 1992 New Works, Twin Cranes Gallery, Seattle, Washington Paintings and Prints, Oakland Museum Collectors Gallery, Oakland, California Of Fact and Fiction, The University of Arizona Rotunda Gallery, Tucson, Arizona Beyond Figuration, Merced College Art Gallery, Merced, California 1991 Monotypes and Paintings, Stanford University Center for Integrated Studies, -
Marie Watt: Lodge
Marie Watt: Lodge Hallie Ford Museum of Art at Willamette University February 4 – April 1, 2012 Teachers Guide This guide is to help teachers prepare students for a field trip to the exhibition, Marie Watt: Lodge and offer ideas for leading self-guided groups through the galleries. Teachers, however, will need to consider the level and needs of their students in adapting these materials and lessons. Goals • To introduce students to the work of Marie Watt • To explore the aesthetics and meaning of the materials the artist uses • To explore the idea of community in Watt’s work • To explore the idea of memory and storytelling in Watt’s work Objectives Students will be able to: • Discuss Marie Watt’s use of blankets, their aesthetic qualities, and their many associations • Discuss the various ways in which Watt engages a variety of communities in the creation of her work • Discuss the role of memory, both individual and collective, in Watt’s work and the objects she uses, and the role storytelling plays in sharing these memories • Reflect upon their own stories and create works that express them INDEX INTRODUCTION by Rebecca Dobkins ……………………………………………3 BEFORE THE MUSEUM VISIT: Dwelling ………………………………………4 AT THE MUSEUM (for self-guided tours)………………………………...………7 AFTER THE MUSEUM VISIT: Stadium................................................................8 RESOURCE ………………………………………………………………………….10 COMMON CURRICULUM GOALS ………………………………………………11 IMAGES: Dwelling and Stadium (with details) …………………………………...12 2 INTRODUCTION Rebecca Dobkins, Professor of Anthropology and Faculty Curator of Native American Art A lodge is a space of welcome; at its center is a hearth, a place where stories are shared. A blanket becomes a lodge, a cave, a fort. -
2 5 15 Diker ERG Final.Pdf
EDUCATOR RESOURCE GUIDE These materials are a resource for educators visiting the exhibition Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection in a guided or self–guided visit. Educators are encouraged to develop open–ended discussions that ask for a wide range of opinions and expressions from students. The activities in this guide connect to core curriculum subject areas and can be adapted for grades K-12 to meet Washington State, Common Core Standards of Learning, and National Core Arts Standards, as well as 21st Century Learning Skills. Lessons incorporate a range of subject areas including science, math, art, social studies, and geography. Glossary words are in BOLD and related images for each project are included at the end of this guide. For assistance modifying these projects to fit your classroom curriculum, please email SAM’s Ann P. Wyckoff Teacher Resource Center (TRC) at [email protected]. Additional information for Indigenous Beauty can be found at www.seattleartmuseum.org/exhibitions/indigenous. For more information about bringing a group to SAM please visit seattleartmuseum.org/educators or email [email protected]. Comprising over 400 objects, Charles and Valerie Diker’s collection of Native American art offers a comprehensive overview of a diverse visual language of North American indigenous cultures. This exhibition examines each object’s wider cultural context and focuses on the themes of diversity, beauty, and knowledge. Each object holds the weight of time, place and symbolism, offering gateways for deeper discussion. Drawn from Indigenous Beauty and objects in SAM’s collection, the selections in this guide, Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection: A Visual History, highlight the similarities and differences of art found in SAM’s strong Pacific Northwest Native collection and objects created throughout the rest of North America.