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RACE, SPACE, and PLACE: the RELATION BETWEEN ARCHITECTURAL MODERNISM, POST-MODERNISM, URBAN PLANNING, and GENTRIFICATION Keith A
RACE, SPACE, AND PLACE: THE RELATION BETWEEN ARCHITECTURAL MODERNISM, POST-MODERNISM, URBAN PLANNING, AND GENTRIFICATION Keith Aoki * [Cite as: 20 Fordham Urb. L.J. 699 (1993)] Introduction Gentrification in United States urban housing markets of the 1970s, 1980s, and 1990s continues to be a controversial and complex phenomenon. [FN1] During the past twenty years, gentrification's effects on the core cities of the U.S. have been analyzed and evaluated many times over. [FN2] Descriptions of gentrification have spanned the ideological *700 spectrum, from laudatory embraces of gentrification as the solution to urban decline to denunciatory critiques of gentrification as another symptom of the widening gulf between the haves and the have- nots in America. [FN3] This Article critiques gentrification, adding an additional explanatory element to the ongoing account of the dynamics of American cities in the 1990s. The additional element is the relevance of a major aesthetic realignment in architecture and urban planning from a modernist to a post-modernist ideology in the 1970s and 1980s. This shift involved an aesthetic and economic revaluation of historical elements in older central city buildings, which accelerated the rate of gentrification, displacement, and abandonment. This Article describes how certain shifts in the aesthetic ideology [FN4] of urban planners and architects affected suburban and urban spatial distribution in the United States during the nineteenth and twentieth centuries. These ideological shifts arose from deeply embedded American attitudes toward city and rural life that had emerged in American town planning and architectural theory and practice by the mid-nineteenth century. Part I of this Article examines the emergence of an anti-urban Arcadian strand in nineteenth century American town planning rhetoric. -
Than Two-Spirit: Queer Indigenous Sovereignty and Survivance In
More Than Two-Spirit: Queer Indigenous Sovereignty and Survivance in Museums Caitlin S. Cooper A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2017 Committee: Kristine Morrissey, Chair Luana Ross Amanda Lock Swarr Qwo-Li Driskill Program authorized to offer degree: Museology © Copyright 2016 Caitlin S. Cooper Abstract The intention of this study was to identify ways museums represent Two-Spirit and queer Indigenous artists. This qualitative study included interviews with six Two-Spirit/queer Indigenous artists, using a phenomenological approach. Museums as cultural institutions built upon colonial ideals have the responsibility to amend museological authority that silence the voices of and refuse space to those that traverse intersectional identities. Two-Spirit artists examine the historical relationship of race, gender, and power as they pertain to material culture, contemporary self-expression, and art. Within this art they are Indigenizing Western academic spaces like museums, demanding accountability from institutions considered vessels of cultural knowledge. Findings suggest that curators’ willingness to listen, communicate, and engage in dialog is critical. The study also found that Two-Spirit artists’ work confronts heteronormativity by exhibiting shifts in gender roles across cultures and time and embodying the values of community organizing, storytelling, and survival. Acknowledgments I foremost want to recognize that I obtained my graduate education from the University of Washington, an institution built on the traditional lands belonging to the Coast Salish peoples of all tribes and bands within the Suquamish, Tulalip and Muckleshoot Nations. It is an honor to be a guest in this beautiful place, surrounded by the sacred knowledge and energy of your ancestors. -
February 2020
FEBRUARY 2020 DIAM ND 115VOL. DISTRICT MONTHLY A NEW BOX FULL OF GOOD NEWS The same way you can’t judge a book by its cover, you shouldn’t judge a monthly publication by its newsbox. Alas, most people in the Diamond District are very familiar with the dirty, scruffy blue newsboxes the Diamond District Monthly has long been distributed from. Like most other things on the street, they’ve been covered with stickers and graffiti. And, now, like most things on the street, they been replaced with sparkling new models. Continued on page 10 SAY HELLO TO THE “PURPOSE-DRIVEN SHOPPER” Everyone needs a purpose. According to a new study of 19,000 consumers in 28 countries, ages 18 to 73, many are willing to pay for it. Nearly one-third of the consumers polled said they would stop buying a brand that is inconsistent with their purpose, such as those associated with negative social or environmental impacts, or lack sustainability—in other words, products produced in ways that may damage long term natural resources to satisfy short term needs. But nearly two thirds also said they would be willing to pay up to 35% more for brands consistent with their purpose. What does this crucial insight mean to diamond and jewelry retailers? Continued on page 17 WHAT’S INSIDE In the News, pg. 4; Industry Spotlight, pg. 6; Market Trends pg. 9; Diamond District Partnership News, pg. 10; Urgent Crime Alert pg. 13; diamonddistrict.org Small Business pg. 17; Crime Report, pg 18 LETTER FROM THE EXECUTIVE DIRECTOR Dear Friends, Details matter. -
Kwakwaka'wakw Storytelling: Preserving Ancient Legends
MARCUS CHALMERS VERONIKA KARSHINA CARLOS VELASQUEZ KWAKWAKA'WAKW STORYTELLING: PRESERVING ANCIENT LEGENDS ADVISORS: SPONSOR: Professor Creighton Peet David Neel Dr. Thomas Balistrieri This report represents the work of WPI undergraduate students submitted to the faculty as evidence of a degree requirement. WPI routinely published these reports on its website without editorial or peer review. For more information about the projects program at WPI, seehttp://www.wpi.edu/Academics/Projects Image: Neel D. (n.d.) Crooked Beak KWAKWAKA'WAKW i STORYTELLING Kwakwaka'wakw Storytelling: Reintroducing Ancient Legends An Interactive Qualifying Project submitted to the faculty of Worcester Polytechnic Institute in partial fulfillment of the requirements for the Degree of Bachelor of Science. Submitted by: Marcus Chalmers Veronika Karshina Carlos Velasquez Submitted to: David A. Neel, Northwest Coast native artist, author, and project sponsor Professor Creighton Peet Professor Thomas Balistrieri Date submitted: March 5, 2021 This report represents the work of WPI undergraduate students submitted to the faculty as evidence of a degree requirement. WPI routinely published these reports on its website without editorial or peer review. For more information about the projects program at WPI, see http://www.wpi.edu/Academics/Projects ABSTRACT ii ABSTRACT Kwakwaka'wakw Storytelling: Preserving Ancient Legends Neel D. (2021) The erasure of Kwakwaka'wakw First Nations' rich culture and history has transpired for hundreds of years. This destruction of heritage has caused severe damage to traditional oral storytelling and the history and knowledge interwoven with this ancient practice. Under the guidance of Northwest Coast artist and author David Neel, we worked towards reintroducing this storytelling tradition to contemporary audiences through modern media and digital technologies. -
31.2 FORGING a FUTURE 2.CB.3.JD FIN 12/12/07 6:26 PM Page 48
31.2_FORGING A FUTURE 2.CB.3.JD FIN 12/12/07 6:26 PM Page 48 DYLAN POBLANO JARED CHAVEZ ELIZABETH WALLACE WAYNE NEZ GAUSSOIN Photographs by Miguel Gandert. Photographs by CODY SANDERSON KERI ATAUMBI MARIA SAMORA DAVID GAUSSOIN A NEW ERA IN JEWELRY FORGING A FUTURE Diana Pardue everal young American Indian jewelers are developing and staff member of the Fashion Institute of Technology (FIT) distinctive contemporary styles while acknowledging in New York City to attend school there. His application was S traditional ones. Like the generation before them, they successful, and his studies included jewelry classes as well as are exploring materials and techniques new to American drawing, painting and fashion design classes. Poblano spent Indian jewelrymaking. Many of these young artists have unique two years at the Fashion Institute learning new techniques, experiences, including formal training in art or design at including lost wax casting, which were influential and useful as competitive universities and select art schools. Others have he continued to develop his sense of design. been influenced by global travels and hands-on opportunities His lost-wax cast designs can be whimsical yet applicable with jewelers from other countries. The result is diverse and to contemporary lifestyles and include small cast earrings distinctive work that is engaging and intriguing. The jewelry in the shapes of couture shoes or charm bracelets that hold of eight of this new generation of young artists is currently a variety of his cast silver shoe charms. Much of Poblano’s being featured at the Heard Museum in Phoenix, Arizona. -
Architectural Styles/Types
Architectural Findings Summary of Architectural Trends 1940‐70 National architectural trends are evident within the survey area. The breakdown of mid‐20th‐ century styles and building types in the Architectural Findings section gives more detail about the Dayton metropolitan area’s built environment and its place within national architectural developments. In American Architecture: An Illustrated Encyclopedia, Cyril Harris defines Modern architecture as “A loosely applied term, used since the late 19th century, for buildings, in any of number of styles, in which emphasis in design is placed on functionalism, rationalism, and up‐to‐date methods of construction; in contrast with architectural styles based on historical precedents and traditional ways of building. Often includes Art Deco, Art Moderne, Bauhaus, Contemporary style, International Style, Organic architecture, and Streamline Moderne.” (Harris 217) The debate over traditional styles versus those without historic precedent had been occurring within the architectural community since the late 19th century when Louis Sullivan declared that form should follow function and Frank Lloyd Wright argued for a purely American expression of design that eschewed European influence. In 1940, as America was about to enter the middle decades of the 20th century, architects battled over the merits of traditional versus modern design. Both the traditional Period Revival, or conservative styles, and the early 20th‐century Modern styles lingered into the 1940s. Period revival styles, popular for decades, could still be found on commercial, governmental, institutional, and residential buildings. Among these styles were the Colonial Revival and its multiple variations, the Tudor Revival, and the Neo‐Classical Revival. As the century progressed, the Colonial Revival in particular would remain popular, used as ornament for Cape Cod and Ranch houses, apartment buildings, and commercial buildings. -
A Case Study of Three Osage Native American
CULTURE CLASH: A CASE STUDY OF THREE OSAGE NATIVE AMERICAN FAMILIES By ANNA WEBB-STOREY Bachelor of Science Oklahoma State University Stillwater, Oklahoma · 1984 Master of Science Oklahoma State University Stillwater,. Oklahoma 1992 · Submitted to the Faculty of the Graduate College of the Oklahoma State University - in partial fulfillment of the requirements for the Degree of DOCTOR OF EDUCATION July, 1998 - 1~ ft;1"~' I{,,,,~~ ' .•{:r l q rt COPYRIGHT by Anna Webb-Storey July, 1998 CULTURE CLASH: A CASE STUDYOF THREE OSAGE NATIVE AMERICAN FAMILIES Thesis Approved: 11 ACKNOWLEDGMENTS My personal belief is that our heavenly Father should be thanked first for all things. He has been my guide and source of strength throughout this doctoral process. I truly believe, "I can do everything through him.who· gives me strength" (Philippians 4: 13). I want to express my infinite appreciation and love to my best friend and strongest supporter, my husband, Rick. He has encouraged and prayed for me throughout this entire process. Thank you for cheering me.on! I will forever be indebted to the three Osage families who participated in this study: My mother, Mary Jo Peace Webb; Marvin Stepson, Jr;; and, Juanita and Joe Tall Chief Their knowledge and understanding of family and Osage Tribal history was essential to this study. I want to especially thank my mother for her prayers, encouragement, and ~ollaboration during this research project. Her wisdom and knowledge regarding the Osage Tribe proved to be an invaluable source for this study. I would alsolike tb thank my father, Melvin Webb, for his support and encouragement. -
EXHIBITORS --- July 17, 2018
EXHIBITORS --- July 17, 2018 • 3W ENTERPRISES/RUFF TUFF RANCH TOYS • SCHLEICH, TOMY ERTL, SAFARI & LITTLE BUSTER FARM & RANCH EQUIPMENT & TOY ANIMALS • MIDWAY 12' X 12' #7 • A SPICE ABOVE WYOMING • Prepackaged spices, dips, spreads and dressings • B 58 • ACE HARDWARE • Grills and demos • Outside • • ALLWAYZ MANFACTURING • Metal and vinyl décor, wine holders, etc • B 31-34 • • AMBRIZ JEWELRY • HAND CRAFTED SILVER JEWELRY; WINE STOPPERS; BUSINESS CARD HOLDERS; KEY CHAINS, HORSE HAIR & LEATHER ACCESSORIES • B 22 & 23 • AMERICAN BULLRIDING • MECHANICAL BULL RIDING • OUTSIDE • BGV MARKETING • Survey group and vacation info • Outside • BLAKE’S TRADING INC. • Silver, fashion jewelry, watches, dream catchers, fanny packs, purses, southwest style gifts, and painted ponies • MIDWAY 12' X 24' #2 • BLUE GREEN VACATIONS UNLIMITED, INC • Vacation information • E 9-11 • BOOT BARN • WESTERN APPAREL & WORK WEAR • Outside 40' x 80' • BUNNIES & BOW • Pillowcases, tooth fairy pillows, tea towels all personalized • B 57 • BRANDIN BUDDIES • MINATURE BRANDS; BRANDED WOODEN ITEMS AND CRAFTS, It Works Products • E 12-13 • BROWN AND GOLD EXHIBITORS --- July 17, 2018 • T-shirts sweatshirts, hats, novelty items • MIDWAY BLDG 12' X 12' #16 • BUTTERFLIES TO GO • Butterflies & insects, • E 108 & 109 • C & C ENTERPRISES • Ropes, hats, chaps, spurs, rodeo supplies, conchos, gloves, and more • Outside Midway Bldg. #4 • • CAS GIFT SHOPPE • Authentic Southwestern Indian Arts & Crafts and jewelry • E 40 & 41 • CATALINA’S ORIGINALS • Clothing and purses • E 96-100 • CAVE -
Architecture Overview and Activities
Educational Material Architecture Overview and Activities What is architecture? As defined by Merriam-Webster architecture is: 1. the art or science of building, specifically: the art or practice of designing and building structures and especially habitable ones. 2. a: formation or construction resulting from or as if from a conscious act (the architecture of the garden) b: a unifying or coherent form or structure (the novel lacks architecture) 3. architectural product or work. 4. a method or style of building. 5. the manner in which the components of a computer or computer system are organized and integrated Architectural style refers to the visual appearance of a building and not its function. Style is often influenced by values and aspirations held by a society or a community. Certain designs may serve as metaphors or symbols of what a particular group of people value, of what they consider important. For example, when the Pilgrims first settled in Massachusetts in 1620 they built structures that served their immediate needs: shelter and places of worship. Creating these particular buildings reflected their collective desire for a new home (building a house creates a feeling of permanence and stability) and freedom to worship as they liked. As more people settled in America they brought their own cultural styles and ideas which have continued to influence architectural design. Who Builds Great Buildings? Most of the world’s great buildings have been designed by architects. But there are many other buildings, including many homes, which were built by builders with no architectural training. These builders have sometimes used published plans created by architects or have created their own. -
Frank Lloyd Wright's
Usonia, N E W Y O R K PROOF 1 Usonia, N E W Y O R K Building a Community with Frank Lloyd Wright ROLAND REISLEY with John Timpane Foreword by MARTIN FILLER PRINCETON ARCHITECTURAL PRESS, NEW YORK PROOF 2 PUBLISHED BY This publication was supported in part with PRINCETON ARCHITECTURAL PRESS funds from the New York State Council on the 37 EAST SEVENTH STREET Arts, a state agency. NEW YORK, NEW YORK 10003 Special thanks to: Nettie Aljian, Ann Alter, Amanda For a free catalog of books, call 1.8... Atkins, Janet Behning, Jan Cigliano, Jane Garvie, Judith Visit our web site at www.papress.com. Koppenberg, Mark Lamster, Nancy Eklund Later, Brian McDonald, Anne Nitschke, Evan Schoninger, © Princeton Architectural Press Lottchen Shivers, and Jennifer Thompson of Princeton All rights reserved Architectural Press—Kevin C. Lippert, publisher Printed in China First edition Library of Congress Cataloging-in-Publication Data Reisley, Roland, – No part of this book may be used or reproduced in any Usonia, New York : building a community with manner without written permission from the publisher Frank Lloyd Wright / Roland Reisley with John except in the context of reviews. Timpane ; foreword by Martin Filler. p. cm. Every reasonable attempt has been made to identify isbn --- owners of copyright. Errors or omissions will be corrected . Usonian houses—New York (State)—Pleasant- in subsequent editions. ville. Utopias—New York (State)—Pleasantville— History. Architecture, Domestic—New York All photographs © Roland Reisley unless otherwise (State)—Pleasantville. Wright, Frank Lloyd, indicated. –—Criticism and interpretation. i. Title: Usonia. ii. Timpane, John Philip. iii. -
February 2021
February 2021 BEGIN TRANSCRIPT Welcome to the Dayton Art Institute Object of the Month presentation for February 2021. My name is Rick Hoffman and I’m a Museum Guide. I’d like to share with you one of my favorite statues in the museum’s collection, Chief Massasoit, by Cyrus Edwin Dallin, an American sculptor who lived from 1861 to 1944. He was famous for his depictions of Native Americans and patriotic figures like Paul Revere. This statue is eleven and a half feet tall, the tallest figurative sculpture in the museum. Why do you think that the artist created this piece so large? Chief Massasoit played a very important role in the survival of the pilgrims and the shared celebration of 1621, which led to the modern-day holiday of Thanksgiving. He helped maintain peace between the pilgrims and the Wampanoag Confederacy for over forty years until he died. So, we can surmise that Dallin rendered him this way to indicate the importance that the Chief played in American history. His statue is in fact very much larger than life size. Chief Massasoit was a grand sachem or leader of the Wampanoag Confederacy and he lived from 1581 to 1661. Ousamequin, or Yellow Feather in the native tongue of the Pokanoket tribe of modern-day Rhode Island and Massachusetts—his village was located where the town of Warren, Rhode Island is now. Let’s stand back and take a long look at this statue. He wears a simple deerskin, fringed loincloth, three beaded necklaces, and has a fringed leather pouch that hangs on his left side. -
Indigenous Resources (Grades 1–8) Engage Students in Inquiry About Indigenous Cultures, Worldviews, and History As We Work Toward Reconciliation Grades 3–8 in Canada
Indigenous Resources (Grades 1–8) Engage students in inquiry about Indigenous cultures, worldviews, and history as we work toward reconciliation Grades 3–8 in Canada Four magazine-style student books focus on Bestseller! Indigenous communities across Canada, the need for reconciliation, and the actions people are taking to make a difference. Through these examples, students will realize that they too can have an impact and work toward reconciliation. Student Books Take Action for Reconciliation inquiry-based student books focus on Indigenous cultures, languages, and worldviews. They include: • Indigenous voices and perspectives throughout • Contemporary stories and historical truths • Examples of actions people have taken to promote reconciliation • Quotes by Indigenous leaders and Elders highlighting ideas and/or issues • Think About It! section to prompt further inquiry and help students connect to their own lives • Lear n About It! section offering additional facts and information or questions for students to research • Final Project: a call to take action, share your We Are the Land learning, taking a step in reconciliation interior Available in French! We asked Indigenous educators across the country for advice and then brought together a team of 10 highly qualified and knowledgeable advisors to develop the resource. The advisors contributed articles, photographs, ideas, expertise, wisdom, and perspectives; they oversaw every aspect of the resource. Cornelia Laliberte Diane Jubinville Jaime Battiste Fibbie Tatti April Waters Colinda