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NIZHÓNÍGO NA’ACH’AAH BAHANE’ 20th Century and Contemporary Native Art Nizhónígo Na’ach’aah bahane’ Comparing and Contrasting the Art and Literature of Two Diné artists Tiffany L. Tracy Diné Institute for Navajo Nation Educators (DINÉ) 2019 Author Note: Tiffany L. Tracy, DINÉ Institute Fellow, is a 2nd grade teacher at Ganado Primary School within the Ganado Unified School District which is located in Ganado, Arizona on the Diné Nation. Acknowledgements must be given to the teachers from all over the Diné Institute who supported one another with sharing of cultural and topical knowledge. To Dr. Jennifer McLerran for providing rich knowledge about Contemporary Native American Art and uninterrupted ally-ship to Native Arts and artisans. To Dr. Angelina Castagno for devoting time to get the Institute off the ground. To Jolene Smith for including me on her journey of growth as an educator and continuing the work of the late Marilyn Dempsey. Lastly to my students, the community, my family, and to our elders and ancestors who made our presence possible with the power of their prayers. Correspondence in regard to this curriculum unit can be addressed to Tiffany L. Tracy, P.O. Box 2851, Fort Defiance, AZ, 86504. Email contact: [email protected]. NIZHÓNÍGO NA’ACH’AAH BAHANE’ Tiffany Tracy Nizhónígo Na’ach’aah bahane’: Comparing and Contrasting the Art and Literature of Two Diné Artists Tiffany Tracy Introduction This is my second unit for the Diné Institute for Navajo Nation Educators, and my third unit overall through the Yale National Initiative’s model of curricular development for students in diverse classrooms. -
Artist Ruthe Blalock Jones to Join Circle of Honor | the Journal Record
Artist Ruthe Blalock Jones to join Circle of Honor | The Journal Record Log out Manage Account Subscribe HOME NEWS EVENTS COMMUNITY MARKETPLACE NEW MEDIA ADVERTISE USAGE FAQ LEGISLATIVE REPORT PUBLIC NOTICE CLASSIFIEDS THE JOURNAL RECORD > ALL-MOBILE-NEWS > ARTIST RUTHE BLALOCK JONES TO JOIN CIRCLE OF HONOR Artist Ruthe Blalock Jones to join Circle of Honor By David Page The Journal Record Special Projects Editor Posted: 02:23 PM Monday, November 18, 2013 Like Tweet 2 0 0 TULSA – At age 13, Ruthe Blalock Jones entered the annual Philbrook Indian art show in Tulsa. Jones said the artist Charles Banks Wilson and his wife encouraged her to enter the art show. Wilson, who died this year, has portraits of Woody Guthrie, Will Rogers and Jim Thorpe on display at the state Capitol in Oklahoma City. Jones earned an honorable mention. “It did not dawn on me until later that it was an adult competition.” 138,460,823 131,886,428 From that early success, Jones went on to have a long career as a professional artist and educator. Her art 101,840,413 has been exhibited internationally, including recent 424,326,663 showings in Japan and Uganda. She spent 30 years at Bacone College in Muskogee as a professor of art and director of art. (Ruthe Blalock Jones) Jones, of Shawnee-Delaware-Peoria descent, will be Business Calendar honored for her accomplishments and long career Today Tuesday, November 19 P when the Tulsa City-County Library’s American Resource Center inducts her into the Circle of Honor. The induction ceremony is scheduled at 10:30 a.m. -
Journal of Museum Studies, Volume 8, Number 1 Journal of Museum Studies
THE UNIVERSITY OF OKLAHOMA COLLEGE OF LIBERAL STUDIES CLS Journal of Museum Studies, Volume 8, Number 1 Journal of Museum Studies e-Journal of the Museum Studies Program VOL 8 | NO 1 | DEC 2014 Foreword The Breadth of Natural History Research by Michael A. Mares Talking God and Father Peyote: Preliminary Quantification of Curator Religious Pluralism and Contemporary Diné Success in Life Science Natural History (Navajo) Art Collections by Daniel C. Swan and Dakota H. Stevens by Jessa L. Watters and Cameron D. Siler Edited by Michael A. Mares CLS Journal of Museum Studies, Volume 8, Number 1 CLS Journal of Museum Studies, Volume 8 Number 1 (Dec. 2014) http://jms.ou.edu CLS Journal of Museum Studies is currently published online by the College of Liberal Studies, MALS Museum Studies Program, the University of Oklahoma. Your use of the CLS Journal of Museum Studies archives indicates your acceptance of the Terms and Conditions of Use, available at http://jms.ou.edu. Museum professionals, students, and other readers are encouraged to distribute the articles published in this journal as widely as possible, to use them in classes, and to reprint them as needed. For commercial use of any of these articles Cover Photograph: Mother Earth, Father Sky and the Yeis (e.g., charging for articles, republishing figures, tables, text, etc.), Dancers, 2006. Jackie Black, Diné (Navajo), Red Valley, New permission must be obtained from the Editor. All questions Mexico. Acrylic on canvas. Sam Noble Museum. relating to the journal should be directed to the Editor. Journal Editor Publisher contact information available at http://jms.ou.edu. -
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. -
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. -
B Y S U S a N D R a G
NATIVE AMERICANS AND WESTERN ICONS HAVE BEEN THE TWIN PILLARS OF OKLAHOMA’S CULTURE SINCE WELL BEFORE STATEHOOD. WE ASSEMBLED TWO PANELS OF EXPERTS TO DETERMINE WHICH BRAVE, HARDWORKING, JUSTICE-SEEKING, FRONTIER-TAMING INDIVIDUALS DESERVE A PLACE IN OKLAHOMA’S WESTERN PANTHEON. THE RESULT IS THE FOLLOWING LIST OF THE MOST INFLUENTIAL NATIVE AMERICANS, COWBOYS, AND COWGIRLS IN THE STATE’S HISTORY. BY SUSAN DRAGOO OklahomaToday.com 41 BILL ANOATUBBY BEUTLER FAMILY (b. 1945) Their stock was considered a CHICKASAW NATION CHICKASAW Bill Anoatubby grew up in Tisho- cowboy’s nightmare, but that mingo and first went to work was high praise for the Elk City- for the Chickasaw Nation as its RANDY BEUTLER COLLECTION based Beutler Brothers—Elra health services director in 1975. (1896-1987), Jake (1903-1975), He was elected governor of the and Lynn (1905-1999)—who Chickasaws in 1987 and now is in 1929 founded a livestock in his eighth term and twenty-ninth year in that office. He has contracting company that became one of the world’s largest worked to strengthen the nation’s foundation by diversifying rodeo producers. The Beutlers had an eye for bad bulls and its economy, leading the tribe into the twenty-first century as a tough broncs; one of their most famous animals, a bull politically and economically stable entity. The nation’s success named Speck, was successfully ridden only five times in more has brought prosperity: Every Chickasaw can access education than a hundred tries. The Beutler legacy lives on in a Roger benefits, scholarships, and health care. -
Oklahoma WOMEN's HAIL of FAME
OKlAHOMA WOMEN'S HAIL OF FAME he Oklahoma Women's Hall of Fame, created in 1982, is a project ofthe T Oklahoma Commission on the Status ofWomen. Inductees are women who have lived in Oklahoma for a major portion of their lives or who are easily identified as Oklahomans and are: pioneers in their field or in a project that benefits Oklahoma, have made a significant contribution to the State of Oklahoma, serve or have served as role models to other Oklahoma women, are "unsung heroes" who have made a difference in the lives of Oklahomans or Americans because of their actions, have championed other women, women's issues, or served as public policy advocates for issues important to women. Inductees exemplifY the Oklahoma Spirit. Since 2001, the awards have been presented in odd numbered years during "Women's History Month" in March. A call for nominations takes place during the late summer of the preceding year. *inducted posthumously 1982 Hannah Diggs Atkins Oklahoma City State Representative, U.N. Ambassador Photo courtesy of' Oklahoma State University Library 158 Notable Women/Women's Hall ofFame 1982 Kate Barnard* Oklahoma City Charities & Corrections Commissioner, Social Reform Advocate Photo courtesy ofOklahoma Historical Society 1982 June Brooks Ardmore Educator, Oil and Gas Executive Photo copyright, The Oklahoma Publishing Company 1982 Gloria Stewart Farley Heavener Local Historian Photo provided Oklahoma Women's Almanac 159 1982 Aloysius Larch-Miller* Oklahoma City Woman Suffrage Leader Photo copyright, The Oklahoma Publishing Company 1982 Susie Peters Anadarko Founder Kiowa Indian School of Art Photo courtesy of Oklahoma Historical Society 1982 Christine Salmon Stillwater Educator, Mayor, Community Volunteer Photo courtesy ofSheerar Museum, Stillwater, OK 160 Notable Women/Women's Hall of Fame 1982 Edyth Thomas Wallace Oklahoma City Journalist Photo copyright, The Oklahoma Publishing Company 1983 Zelia N. -
Book Review: Native American Picture Books of Change: the Art Of
Volume 43 Number 2 2004 11/4/10 7:05 PM Page 46 BOOK REVIEW Native American Picture Books of Change: The Art of Historic Children’s Editions, by Rebecca C. Benes with a foreword by Gloria Emerson. Santa Fe: Museum of New Mexico Press, 2004. Ilus., notes, biblio., index, 168 pages. ISBN0-89013-471-5, $45.00. Almost as soon as Elizabeth Willis De Huff, wife of the newly-appointed superintendent of the Santa Fe Indian School, John De Huff, arrived in 1918, she began to involve herself in the education of the children. Here she found military discipline; English only; a substandard educational system, devoid of the arts; and teaching material that was totally irrelevant to the lives of the Native children. By encouraging the students to share their folklore and songs, she collected some 50 tales, which she compiled into a reader-sized book. For an illustrator, she turned to a talented student, 18-year-old Fred Kabotie. Harcourt-Brace published the book, Tatay’s Tales, in 1922, and nominated it for the American Library Association’s Newberry Award, that honored the most distinguished contribution to American literature for children in 1923. It lost by one vote—to Hugh Lofting’s Voyages of Dr. Doolittle! Thus began four decades of publishing, whereby Anglo writers, teachers, and folklorists, desperate for books and materials that related to the Indian students’ cultural traditions, collaborated to produce English and bilingual books that also featured some soon-to-be leading Native artists of the 20th century, including Allan Houser, Oscar Howe, Gerald Nailor, Quincy Tahoma, Andrew Tsinajinnie, Hoke Denetsosie, and Andrew Standing Soldier. -
After the Rain: Animals. INSTITUTION Heard Museum, Phoenix, AZ
DOCUMENT RESUME ED 478 405 SO 035 102 AUTHOR Old Elk, Arlene; Stoklas, Jackie TITLE After the Rain: Animals. INSTITUTION Heard Museum, Phoenix, AZ. PUB DATE 2001-00-00 NOTE 64p.; For related units, see SO 035 097-101. AVAILABLE FROM Heard Museum, 2301 North Central Avenue, Phoenix, AZ 85004- 1323. Tel: 602-252-8344; e-mail: [email protected]. For full text: http:// www.heard.org/rain/animals/animals.pdf. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC03 Plus Postage. DESCRIPTORS Animals; Art Activities; Community Resources; *Cultural Context; Educational Facilities; *Integrated Curriculum; Interdisciplinary Approach; Language Arts; Mathematics; *Museums; Primary Education; Primary Sources; Sciences; Skill Development; Student Educational Objectives; *Thematic Approach IDENTIFIERS Native Americans; *Rain; United States (Southwest) ABSTRACT The Heard Museum (Phoenix, Arizona) has developed and updated an integrated curriculum for use in grades K-3. The goals for this curriculum are to:(1) share museum resources with schools;(2) promote cross-cultural understanding through a focus on rain, a universal requirement for life; (3) help students understand that Native Americans are contemporary people maintaining identity and values in the modern world;(4) develop an awareness of the varied expressions of rain in the art, literature, and customs of the native people of the greater southwest; and (5) use culturally specific materials as a vehicle for developing essential skills, especially as they relate to the Arizona -
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.