96Th Annual Exhibition
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� --1·1 r� · --·t· r-1 � -r� --·rl �l_, r�·r p· ,("' __, .:..../ --rl 0 F 521 148 VOL 16 N01 - - - - INDIANA HISTORICAL SOCIETY BOARD OF TRUSTEES SARAH Evru'\'S BARKER, indianapolis MICH.\ELA. SIKK.\IAN, Indianapolis, Second Vice Chair �� \RY A.J-..:-...: BRADLEY, Indianapolis £0\\.\.RI) E. BREEN, �[arion, First Vice Chair 01.\.\!,E j. C\RT�tEL, Brownstown P•TRICL\ D. CeRRA!<, Indianapolis EOCAR G1 EXN 0.-\\15, Indianapolis DA.." l:. I �1. E�'T. Indianapolis RIC! lARD F'ELDMA-'-.;,Indianapolis RICHARD E. FoRD, Wabash R. RAY HAWKINS. Carmel TI!O\!A-<.; G. HOR\CK, Indianapolis MARTIN L<\KE, 1'1arion L\RRY S. L\NDIS, Indianapolis P01.1 'Jo�TI LEi'\NON,Indianapolis jAMES H. MADISON, Bloomington M \RY jA...'\'E �IEEJ.�ER. Carmel AMlRF\\ '"'· NiCKLE, South Bend GJ::.ORGJ::. F. RAPP,Indianapolis BO'<'IIE A. REILLY, Indianapolis E\'AIIt'\FII. RIIOOI:.II.AME.L,Indianapolis, Secretary LA:-.J M. Rou.�\!'-10, Fon \-\'ayne, Chair jMIES SHOOK JR., Indianapolis P. R. SwEENEY, Vincennes, Treasurer R BERT B. TOOTHAKER, South Bend WILLIAM H. WIGGINS JR., Bloomington ADMINISTRATION SALVATORE G. CILELLAjR., President RA�IOND L. SIIOI:.MAKER, Executive Vice President ANMBELLF J.JACKSON, Comroller St!SAN P. BROWN, enior Director, Human Resources STEPIIl:-.. L. Cox, Vice President, Collections, Conserv-ation, and Public Programs TIIO\IAS A. �lAsoN, Vice President, n-JS Press Ll:'\DA L. PRArr, Vice President, Development and Membership BRE:"DA MYER.<;, Vice President, Marketing and Public Relation� DARA BROOKS, Director, Membership \ROLYI\ S. SMITH, Membership Coordinator TRACES OF INDIANA AND MIDWESTERN HISTORY RAY E. BOOMHOWER, Managing Editor GEORGF R. -
Preliminary Experience Create a Journal from an Altered Book
IINTRODUCTIONNTRODUCTION Photo caption. Photo caption. Preliminary Experience Create a Journal from an Altered Book OBJECTIVES A TEACHING GUIDE FOR GRADE 4 AArtrtrtSmaSSmart:mart:t: Indiana INDIANA’S VISUAL ARTS AND ARTISTS The fi rst ArtSmart: Indiana was a major educational and public program of the Greater Lafayette Art Museum (now the Art Museum of Greater Lafayette), created to meet the goal of improving visual literacy, museum education skills, and awareness of the development of art in Indiana. The original program, (1986) written by Susan O. Chavers, and implemented by Sharon Smith Theobald, was a nontraditional multidisciplinary approach that was well received by Hoosier teachers who included ArtSmart: Indiana in their curricular plans. A copy of the ArtSmart: Indiana 200 page Resource Guide was sent to every library throughout Indiana, with the support of Pam Bennett at the Indiana Historical Bureau. The current revision of ArtSmart: Indiana, as a web-based initiative, is a Partnership Education Program of the Art Museum of Greater Lafayette and The Children’s Museum of Indianapolis. Special appreciation is extended to Dr. Jeffrey Patchen, President and CEO, and Mary Fortney, Educational Resource Development Manager, The Children’s Museum of Indianapolis. The updated ArtSmart: Indiana project was funded by a grant from the Institute of Museum and Library Services with additional support from the McAllister Foundation to launch the McAllister Art Smart: Indiana Technology Center. Also, Randolph Deer, Indianapolis, and The North Central Health Services helped underwrite the additional printings of the The Art Smart: Indiana Resource Catalog and The Teaching Guide. Please visit our website, www.artsmartindiana.org. -
Paint and Canvas a Life of T
TEACHER RESOURCE by Elaine G. Rosa for the Indiana Historical Society Press publication Paint and Canvas A Life of T. C. Steele by Rachel Berenson Perry This is a publication of the Indiana Historical Society Eugene and Marilyn Glick Indiana History Center 450 West Ohio Street Indianapolis, IN 46202-3269 USA Teacher Resource available online: http://www.indianahistory.org Book orders (telephone): (800) 447-1830 Book orders (fax): (317) 234-0562 Copyright 2012 Indiana Historical Society All rights reserved Except for copying portions of the teacher resources by educators for classroom use, or for quoting of brief passages for reviews, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise), without written permission of the copyright owner. All inquiries should be addressed to the Indiana Historical Society Press. Overview/Description ° High School, English Language Arts–– Theodore Clement Steele was an American 9–10.W.2 Write informational and explana- Impressionist painter known for his Indiana tory texts to examine and convey complex landscapes. He is considered an innovator and ideas, concepts, and information clearly and leader in American Midwest painting and one of accurately through the effective selection, the Hoosier Group of Indiana artists. organization, and analysis of content. This teacher resource provides suggested learning ° High School, English Language Arts–– activities that relate to the Indiana Historical Society 9–10.W.3 Write narratives to develop real Press youth biography Paint and Canvas: A Life of or imagined experiences or events using T. -
A SHARED HERITAGE African American Culture Flourished Through His Painting to Inspire the Received Early Instruction from Promi in the Mid- to Late-1920S
. A SHARED HERITAGE African American culture flourished through his painting to inspire the received early instruction from promi in the mid- to late-1920s. Countee Cullen artistic talents of Indianapolis's black nent members of the Hoosier Group, published his first volume of poems, community. John We sley Hardrick primarily William Forsyth (1854-.-1935) Color(19 25); the \#a ry Blues (1926) by (1891-1968), fo r a brochure accom and Otto Stark (1859-1926). Hardrick, Langston Hughes appeared on popular panying an exhibition of his paintings, Scott, and Wo odruff were among a reading lists; satirist George S. Schuyler wrote that his goal was "to stimulate growing number of aspiring black artists wrote fo r The American Mercury; and an interest among the colored citizens who were participating in the devel Claude McKay's novel Home to Ha rlem of Indianapolis to encourage art; to in opment of American art on a regional (1928) became a best-seller. These spire, if possible, some young talented and national basis during the early RAINY NIGHT, ETAPLES. 1912. WILLIAM E. SCOT T. INDIANAPOLIS MUSEUM OF ART, GIFT OF A GROUP OF AFRICAN AMERICAN CITIZENS OF INDIANAPOLIS. African Americans were among the boy or girl to realize that 'Life without 1900s. They also seized a "chance fo r many who contributed to a literary and labor is a crime, and labor without art group expression and self determina artistic movement known as the Harlem is brutality."' tion" by turning to black subject mat Renaissance. Through art, leader and Hardrick and his contemporaries ter in their work. -
Maryland Historical Trust
NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking “x” in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter “N/A” for “not applicable.” For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Recorder of Deeds Building other names 2. Location street & number 515 D Street NW not for publication city or town Washington, DC vicinity state DC code DC County code 001 zip code 20001 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets does not meet the National Register criteria. I recommend that this property be considered significant nationally statewide locally. ( See continuation sheet for additional comments). -
A Reflection and Recognition of the African American Family (Revised)
DOCUMENT RESUME ED 280 925 UD 025 430 TITLE Black History Month: A Reflection and Recognition of the African American Family (Revised). INSTITUTION New York State Education Dept., Albany. Div. of Civil Rights and Intercultural Relations. PUB DATE Jan 86 NOTE 59p.; For previous edition, see ED 255 592. AVAILABLE FROMNew York State Education Dept., Division of Civil Rights and Intercultural Relations, Room 471 EBA-Washington Ave., Albany, NY 12234 (free). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) -- Reference Materials - Bibliographies (131) EDRS PnICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Black Achievement; *Black History; *Black Influences; Elementary Secondary Education; Instructional Materials; Learning Activities ABSTRACT Instructional materials for nse during Black History Month in elementary and secondary schools are compiled in this booklet. Background information, instructional activities, and resources for classroom use are included for all disciplines. The materials are designed to reflect the relationship between past and present events in African and African American history. Following a foreword, instructor's guide, and chronology of notable African Americans, the booklet is divided into seven sections containing materials o, respectively: General Achievements, Business, Religion, Politics, Music, Math/Science, and Education. Each section consists of four components: (1) an overview (for use as handouts or in-class reading for students; (2) a statement of objectives (to be used by teachers as goals for each unit of instruction); (3) a list of "Facts You Should Know' which provide a chronological perspective of the achievements of African Americans; and (4) instructional activities which may be assigned to students across subject areas. -
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection
TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection TRANSFORMATIVE VISIONS: Works by Haitian Artists from the Permanent Collection Kate Ramsey and Louis Herns Marcelin Mario Benjamin b. 1964, Port-au-Prince, Haiti Untitled, ca. 1996 mixed media on masonite 60 x 48 1/4 x 3 7/8 in. (152.4 x 122.6 x 9.8 cm) Gift of Dr. and Mrs. Carl Eisdorfer, 2002.57.48 Published on the occasion of the exhibition Transformative Visions: Works by Haitian Artists from the Permanent Collection, November 8, 2014 – January 18, 2015. Organized by Louis Herns Marcelin, Ph.D. and Kate Ramsey, Ph.D. TRANSFORMATIVE VISIONS reproduced in any form, by any means, electronic or mechanical, including photocopying, or by any storage or retrieval system, without the written permission of the Lowe Art Museum, University of Miami, Coral Gables, Florida 33146. the materials presented herein. Any person or organization that may have been inadvertently overlooked vi FOREWORD or proved unreachable should contact the Lowe directly so that the necessary corrections can be made in Jill Deupi any future printings. viii ACKNOWLEDGMENTS Funding for the exhibition and catalogue was made possible through Beaux Art, and the membership of Kate Ramsey and Louis Herns Marcelin the Lowe Art Museum, with additional support from the Linnie E. Dalbeck Memorial Foundation Trust. xi NOTE ON THE SPELLING OF TERMS IN HAITIAN KREYÒL 1 TRANSFORMATIVE VISIONS: AN INTRODUCTION Additional programmatic support was provided through HSBC, the University of Miami’s Center for the Humanities, the College of Arts and Sciences’ Strategic Initiatives Fund, Caribbean Literary and Cultural Kate Ramsey Studies in the Department of English, the Department of Modern Languages and Literatures Joseph Carter Memorial Fund, the Department of Anthropology, the Department of Art and Art History, the 23 CONVERSATION WITH PASCALE MONNIN Department of History, the Program in Africana Studies, and the Program in American Studies. -
Indiana Artists Annual Juried Exhibition 2016
88th Annual Juried Exhibition This year we had a wide-range of fine artwork; 150 entries by 80 artist members were submitted. Enclosed are the 45 artists 2020 and their artworks that were accepted into the exhibition. A special thanks to our juror Brian Sindler for stepping-in on a short notice. Awards will be determined eventually, depending on the future status of the exhibition. Due to the closure of the museum because of Covid-19, our exhibition has been put on hold until further notice. Another very special thanks to Pam Newell and Laurie Wright, exhibition co-chairs, and the Indianapolis Museum of Art at Newfields staff for all their time and effort to organize this exhibition under these unique situations. More to come . About the Indiana Artists Club, Inc. A Celebrated Past — An Alive Future L.S. Ayres department store in 1913 where it was held for many years. In January 1917, professional artists Carl Graf, Otto Stark, T.C. Steele, Wayman Adams, Simon Baus, The Indiana Artists Club continues the primary goals Paul Hadley, Randolph Coats, Frederick Polley, of representing artists and educating the community. It is a vibrant group of over 150 Indiana artists Clifton Wheeler, and William Forsyth gathered in engaged in disciplines of art. Indianapolis to form the Indiana Artists Club. Since 1992, the Annual Juried Exhibition is held each The Club’s primary goal was to promote the artistic interests of its membership and the community. The Annual Members Exhibition is held in various locationsspring at throughoutthe Indianapolis Indiana. Museum A board of ofArt directors at Newfields. -
Will Carpenter
WILL CARPENTER 4201 S Washington St Marion, IN 46953 Office #: 765-677-1758 E-mail: [email protected] Website: WillCarpenterArt.com EDUCATION 2003 - 2006 M.F.A Painting University of Miami FL 1998 - 2002 B.A. Studio Art Wheaton College IL PROFESSIONAL EXPERIENCE 2016 – Current - Professor Indiana Wesleyan University 2011 – 2016 10 semesters - Associate Professor Indiana Wesleyan University 2006 – 2011 10 semesters - Assistant Professor, Indiana Wesleyan University 2004 – 2006 3 semesters - Adjunct Instructor, University of Miami 2006 1 summer - Painter, Miami Ink, The Learning Channel 2003 – 2006 6 semesters - Teaching Assistant, University of Miami 2 semesters - Instructor of Record - Drawing 101, University of Miami 2 semesters - Sculpture, Lab Monitor / Safety Management, University of Miami 2005 1 summer - Studio Assistant to Sculptor Bill Carlson, Miami, FL COURSES IN: Art Appreciation, Color Theory, Design, Drawing, Painting SERVED AS JUROR 2019 • Symphony in Color, Annual Art Show, Grant County. 2018 • Symphony in Color, Annual Art Show, Grant County. 2016 • October Open Exhibit, Grant County Art Association 2014 • Indiana State Fair Judge, Drawing, Painting, Pastel, Prints, Watercolor, & Best of Show Fellow Jurors: Valparaiso Assistant Professor, Sarah Jantzi, MFA American University Indiana State University Adjunct Professor, Jason Kreuger, MFA Indiana State University. 2013 • Greentown Community Art Show, Greentown, Indiana • Charlie Creek Arts Festival, Wabash, Indiana 2011 • 37th Annual Juried Student Art Exhibit, -
View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World. -
Commonlit | Abolishing Slavery: the Efforts of Frederick Douglass and Abraham Lincoln
Name: Class: Abolishing Slavery: The Efforts of Frederick Douglass and Abraham Lincoln By Mike Kubic 2017 The American Civil War (1861-1865) was fought within the United States between the Union and the Confederacy. While there were several causes for the conflict between the North and South, the South’s desire to maintain slavery was a major point of disagreement. Frederick Douglass, who was born a slave and became an abolitionist, often discussed abolishing slavery with President Abraham Lincoln. This informational text further discusses the relationship between Douglass and Lincoln, and their efforts to abolish slavery. As you read, take notes on Douglass’ and Lincoln’s perspectives on the abolition of slavery. [1] For the Union soldiers and civilians during the American Civil War, the majestic Battle Hymn of the Republic spoke of assurance that, in President Abraham Lincoln’s immortal words, “a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal, can endure.” But for America’s nearly four million oppressed and exploited Black people, the song’s solemn vow that “The Truth is Marching on!” had, above all, an intensely personal meaning: it promised them freedom from slavery. It was their good fortune that for one of them, an outstanding leader named Frederick Douglass, the truth was marching too slowly, and he made it his life’s mission to make it move faster. "Frederick Douglass appealing to President Lincoln and his cabinet to enlist Negroes mural" by William Edouard Scott is in the public domain. Born as a slave on a Maryland plantation, he shared the suffering and indignities of his millions of peers: he did not know who was his father (but believed that it was his white master); and he rarely saw his mother because she worked on a distant farm, and died young. -
Through the Years with Tri Kappa Fine Arts Since Its Beginning in 1901, Tri Kappa Has Been a Supporter of the Arts
Through the years with Tri Kappa Fine Arts Since its beginning in 1901, Tri Kappa has been a supporter of the arts. At early meetings, the members studied authors and their works. They held musicales, book reviews and appreciation programs. Each chapter was required to “publish a fraternity paper, purely literary, (to be) read before chapters four times a year (and) shall be called “Skull”. This was in addition to submitting articles to the quarterly State magazine, Cross Keys. 1926 In 1926 the Hoosier Salon was founded and Tri Kappa presented a prize at the first meeting in Chicago. Tri Kappa continues to sponsor the Beryl Showers Holland Award in honor of our founder. Beryl also served as President of the Hoosier Salon for 22 years and was instrumental in moving the salon to Indianapolis. 1929 The first State Art Chairman was appointed. This year $600 was pledged for prize money for the Hoosier Salon. 1932 Tri Kappa started the purchase prize system. The first was Edward K. William’s canvas “The Hoosier Cabin.” 1936 Marie Goth’s painting of Beryl Showers Holland was added to our Art Collection. 1941 Hoosier Salon held its exhibit in Indianapolis instead of Chicago. Convention decision to give the painting “Red Maple” by Varaldo J. Cariani to Hanover College. 1947 Tri Kappa purchased shipping cases for the Art Collection which traveled at that time. 1955 Until 1955, the Tri Kappa Art Collection was a traveling exhibit, but because of the wear and tear on the canvases, Tri Kappa decided to house the art collection at the Brown County Art Guild in Nashville, Indiana.