DOCSLIB.ORG

Mary-Russell Ferrell Colton, Northern Arizona's Early Art Educator

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Chara Bohan, Ph.D. Committee Member Committee Member ______________________________ Robert Breunig, Ph.D. Committee Member ______________________________ Date ______________________________ Sheryl A. Gowen, Ph.D. Chair, Department of Educational Policy Studies ______________________________ R. W. Kamphaus, Ph.D. Dean and Distinguished Research Professor College of Education AUTHOR’S STATEMENT By presenting this dissertation as a partial fulfillment of the requirements for the advanced degree from Georgia State University, I agree that the library of Georgia State University shall make it available for inspection and circulation in accordance with its regulations governing materials of this type. I agree that permission to quote, to copy from, or to publish this dissertation may be granted by the professor under whose direction it was written, by the College of Education’s director of graduate studies and research, or by me. Such quoting, copying, or publishing must be solely for scholarly purposes and will not involve potential financial gain. It is understood that any copying from or publication of this dissertation which involves potential financial gain will not be allowed without my permission. ___________________________________________ William James Burns NOTICE TO BORROWERS All dissertations deposited in the Georgia State University library must be used in accordance with the stipulations prescribed by the author in the preceding statement. The author of this dissertation is: William James Burns 12239 N. 61st Place Scottsdale, AZ 85254 The director of this dissertation is: Dr. Sheryl A. Gowen Department of Educational Policy Studies College of Education Georgia State University Atlanta, GA 30303 – 3083 VITA William James Burns ADDRESS: 12239 N. 61st Pl. Scottsdale, AZ 85254 EDUCATION: Ph.D. 2010 Georgia State University Educational Policy Studies M.A. 1994 Arizona State University Public History B.A. 1992 University of Arizona History PROFESSIONAL EXPERIENCE: 2007-present Curator of History City of Tempe, Tempe History Museum 2000-2007 Director of Curatorial Services Georgia Museums Inc., Booth Western Art Museum 1999-2000 Head Registrar Atlanta History Center PROFESSIONAL SOCIETIES AND ORGANIZATIONS: 1997-present American Association of Museums (AAM) 2005-present Curators Committee (AAM) 1992-present Museum Association of Arizona ABSTRACT WE MUST GROW OUR OWN ARTISTS: MARY-RUSSELL FERRELL COLTON, NORTHERN ARIZONA’S EARLY ART EDUCATOR by W. James Burns What were Mary-Russell Ferrell Colton’s contributions to the progressive education movement and the Indian arts and crafts movement in the Southwestern United States at a time when the region was still very remote? Artist, author, amateur ethnographer, educator, and curator; these were but a few of the talents of Mary-Russell Ferrell Colton, co-founder of the Museum of Northern Arizona and early art advocate on the Colorado Plateau. This study investigates how Colton contributed to the progressive education movement and the Indian arts and crafts movement through the work that she did at the museum. There, she labored to increase public awareness of the importance of art education and to revive Native American arts on the Colorado Plateau. Using an extensive collection of archival material in the Colton Collection at the Museum of Northern Arizona, as well as oral history interviews, this historical study provides a nuanced analysis of Colton’s life as an educator. Colton’s influence is not well known today, but her professional contributions merit recognition, giving her a place in the history of American education. This study reveals how Colton’s efforts fit within the context of the work of her contemporaries in Santa Fe and Taos, and within the progressive education movement, from the then relatively remote outpost of Flagstaff. Much can be learned from Colton’s work that is relevant to the field of education today. Her ideals and writings about art education will resonate with opponents of No Child Left Behind. Colton’s work as one of northern Arizona’s earliest art educators contributed to a better understanding of the culture of the various peoples of the Colorado Plateau and to the preservation of Navajo and Hopi traditions through education. Colton made notable contributions to the Indian arts and crafts movement, museum education, and the progressive education movement. A woman of firm convictions and ideals, Colton was strong-willed, and complex, a multi-faceted person with a broad range of interests which she pursued with passion and commitment. This study crosses the boundaries of several disciplines, including educational history, museum studies, women’s studies, educational biography, Native American studies, and art education. WE MUST GROW OUR OWN ARTISTS: MARY-RUSSELL FERRELL COLTON, NORTHERN ARIZONA’S EARLY ART EDUCATOR AND ADVOCATE by W. James Burns A Dissertation Presented in Partial Fulfillment of Requirements for the Degree of Doctor of Philosophy in Social Foundations of Education in the Department of Educational Policy Studies in the College of Education Georgia State University Atlanta, GA 2010 Copyright by William James Burns 2010 ACKNOWLEDGMENTS A project such as this one cannot be completed without owing a deep debt of gratitude to a great number of people. I am particularly indebted to the staff of the Museum of Northern Arizona, Robert Breunig, Ph.D., Executive Director, Jonathan Pringle, Archivist, Ed Evans, Ph.D., Librarian, Elaine Hughes, Collections Manager, Karen Enyedy, Publications Volunteer, and Pats Shriver, Executive Assistant to Dr. Robert Breunig. Without their assistance this study would not have been possible. I appreciate all of the time that they took out of their busy schedules to located archival materials and artifacts, scan photographs, and provide access to the usually restricted Colton Collection. I am also grateful to all of Mary-Russell Ferrell Colton’s family, friends, and colleagues who took the time to reminisce with me about her. The interviews with her granddaughters Robin and Denise Colton were especially valuable and will now be preserved in the archives at the Museum of Northern Arizona. Robin and Denise’s memories of their grandmother often inspired me to continue writing. Thanks also to Barton and Margaret Wright, Bill Breed, Richard Wilson, Ron Hubert, Marie Stilley for sharing their remembrances of Colton. The assistance of the archivists and curators at the Laboratory of Anthropology and the School of Advanced Research in Santa Fe, the Center for Southwest Research at the University of New Mexico in Santa Fe, Special Collections at Cline Library, Northern Arizona University in Flagstaff, Arizona Collection, Hayden Library at Arizona State University in Tempe, and the Billie Jean Baguley Library at the Heard Museum in Phoenix is very much appreciated. I would like to thank my committee members, Dr. Sheryl Gowen, Dr. Barbara Kawulich, Dr. Robert Breunig, Dr. Ann Kruger, and Dr. Chara Bohan, for their assistance in shaping and organizing this study. Each of them brought a wealth of knowledge and a special interest to the study: Dr. Breunig a fascination with Colton and the Museum having worked there for many years, Dr. Kruger a love of art education, Dr. Bohan, interests in women’s history, feminist history, and educational biography, and Dr. Kawulich, interests in Native American Education and ethnography. Thank you to Dr. Gowen for agreeing to chair this committee after two previous committees left the University; had she not done so it would not have been possible for me to complete this study. I wish to offer
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Encyklopédia Kresťanského Umenia
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day
    [Show full text]
  • 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................................................................
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • M U Se U M of N E W M Exic O P Re
    Museum of New Mexico Press Fall 2014 Books in Print New & Forthcoming Gustave Baumann & Friends: Artist Cards from Holidays Past 3 Kachinas: A Hopi Artist’s Documentary 4 Light, Landscape and the Creative Quest: Early Artists of Santa Fe 6 Reissues of New Mexico Magazine Bestsellers Southwest Flavor 8 Best Recipes from New Mexico’s B & B’s 8 New in Paperbound Classic Hopi & Zuni Kachina Figures 5 Taos: A Topical History 6 Recently Published New Mexico Treasures 2015: Engagement Calendar 33 Santa Fe 7 The lackB Place 9 Poetics of Light 9 Subject Index / Backlist Archaeology & Architecture 29 Children’s Literature and Picture Books 33 Cookbooks 8, 32 Georgia O’Keeffe 11 Literature (Hispanic and Native American) 26-27 New Mexico Art and Artists 3, 10, 11, 17, 18 New Mexico Hispanic Art/Folk Art/Religious Traditions 18-19 New Mexico History, Biography, Portraits 6-7, 12-13, 16, 28, 29, 30, 33 Native America Art & Culture 4, 13,15, 23-25 Mexico and Latin America Folk Art/Art 20 Photography 9, 21-22 Religious Devotions/Folk Art 19 Southwest Plants & Gardens/Medicinal Plants 31-32 World Art/Cultures 14 Index 34-35 Order Form 36 TO ORDER (800) 249-7737 or (505) 272-7777 www.mnmpress.org Museum of New Mexico Press Anna Gallegos Director Mary Wachs Editorial Director David Skolkin Art & Production Director Catherine Chavez Office Administrator Editorial Offices PO Box 2087, Santa Fe, New Mexico 87504-2087 Phone 505.476.1155 Fax 505.476.1156 Founded in 1951, the Museum of New Mexico Press is an award-winning publisher of finely designed and crafted books that reflect the collections of the Museum of New Mexico and explore cultures of the Southwest and beyond.
    [Show full text]
  • 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 | .
    [Show full text]
  • [2]Ffij]~ WOMEN's HALL of FAME Rr ;L1
    .3 :\iJ55/987 , [!!]~m[!] [[2]ffiJ]~ WOMEN'S HALL of FAME rr ;l1 sponsored by Arizona Historical Society and Arizona Department of Library, Archives & Public Records "To err is human, to forgive divine" ERRATA p. 31-Arizona Women's Hall ofFame (1985,1986,1987): paragraph 1: Capt. Francisco Elias Gonzalez de Zayas came to Mexico in 1721 at the age offourteen. He marriedMariaAgueda Campoyon May 15, 1729. paragraph2: Thefamilycontributeda presidentofMexico, eightgovernors ofSonora, one ofChihuahua and one ofBaja California, Norte. ~~m[!]~8~ WOMEN'S HALL of FAME Arizona Historical Society Museum Monograph Central Arizona Division 1242 North Central Phoenix, Arizona 85004 1987 1987 Arizona Women's Hall of Fame STEERING COMMITTEE Arlene Bansal Deputy Director, Arizona Department ofLibrary, Archives and Public Records Betsy Bolding Executive Director, Tucson Tomorrow, Tucson Frank Kelley Scottsdale Ken Kimsey, Ph.. D. Director, Sharlot Hall Museum, Prescott Bill McCune William McCune Productions for Television, Phoenix Andrew E.. Masich Director, Central Arizona Division, Arizona Historical Society, Phoenix Betty Rockwell State Representative, Phoenix Jane Rosenbaum Phoenix Polly Rosenbaum State Representative, Globe Sharon G Womack Director, Arizona Department ofLibrary, Archives and Public Records SELECTION COMMITTEE Kenneth Arline History Columnist, Mesa Ben Avery Columnist, Arizona Republic, Phoenix Margaret BretHarte Head Librarian, Arizona Historical Society, Tucson Raquel Rubio Goldsmith Instructor, Pima Community College, Tucson Alison
    [Show full text]
  • Nellie Cashman """" " 3 Ida Redbird """ "" 6 Elsie Toles "" " " " " " 9 Mary Bernard Aguirre """ ""
    HS3 .. 3:w5SI1Qbb COpX cJ ~~m[!J]ffi]ffi]~ WOMEN'S HALL of FAME F .:11 sponsored by Arizona Historical Society and Arizona Department of Library, Archives & Public Records CDMPLIMENTS DF LIBRAEY$ AHCHIVES AND PUBLIC RECORDS ~r!J]00~ffi)]~ WOMEN'S HALL of FAME Arizona Historical Society Museum Monograph Central Arizona Division 1242 North Central Phoenix, Arizona 85004 1986 1986 Arizona Women's Hall of Fame STEERING COMMITTEE Ms, Arlene Bansal DeputyDirector, Department ofLibrary, Archives and Public Records Betsy Bolding Special Assistant, Governor's Office Bill McCune William McCune Productions for Television Andrew E ,. Masich Director, Central Arizona Division, Arizona Historical Society Betty Rockwell State Representative, Phoenix Jane Rosenbaum Special Assistnat, Governor's Office Polly Rosenbaum State Representative, Globe Sharon Turgeon Director, Department of Library, Archives and Public Records Kenneth Kimsey Director, Sharlot Hall Museum SELECTION COMMITTEE Kenneth Arline History Columnist Margaret BretHarte Librarian, Arizona Historical Society Dr James Byrkit Professor, Department of Geography, Northern Arizona University Raquel Rubio Goldsmith Instructor, Pima Community College Alison M.. Hughes Betty Rockwell State Representative, Phoenix Polly Rosenbaum State Representative, Globe Lester W. Ruffner Arizona Historian-Author Sylvia Laughlin President, Central Arizona Chapter Arizona Historical Society Christine Marin " Arizona Collection, Hayden Library, ASU ii Foreword Established by the Arizona Women's Commission in 1981, the Arizona Women's Hall of Fame is now in its sixth year under the joint sponsorship of the Arizona Historical Society and the Arizona Department of Library, Archives & Public Records. Each year nominations submitted from across the state are reviewed by a Selection Committee, a learned and impartial body.
    [Show full text]
  • 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.
    [Show full text]