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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. -
Synthesising a Context-Specific Approach to Native American
_________________________________________________________________________Swansea University E-Theses Synthesising a context-specific approach to Native American narratives: An analysis of philosophies of knowledge and cross- cultural communication in Native American and academic contexts. Kirby, Anne Louise How to cite: _________________________________________________________________________ Kirby, Anne Louise (2005) Synthesising a context-specific approach to Native American narratives: An analysis of philosophies of knowledge and cross-cultural communication in Native American and academic contexts.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42283 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University -
Points-West 1995.09.Pdf
CaruxoAR oF Evrxrs September - Open 8 am to 8 pm October - Open 8 am to 5 pm November - Open 10 am to 3 pm SEPTEMBER Native American Day school program. Buffalo Bill Art Show public program. Artist Donald "Putt" Putman will speak on "What Motivates the Artist?" 3 pm. Historical Center Coe Auditorium. Cody Country Chamber of Commerce's Buffalo Bill Art Show and Sale. 5 pm. Cody Country Art League, across Sheridan Avenue from the Historical Center. OCTOBER 19th Annual Patrons Ball. Museum closes to the public at 4 pm. Museum Tiaining Workshop. Western Design Conference seminar sessions. Patrons' Children s Wild West Halloween Party. 3-5 pm. Buffalo Bill Celebrity Shootout, Cody Shooting A western costume party with special activities and Complex. Three days of shooting competitions, treats for our younger members. including trap, skeet, sporting clays and silhouette shooting events. NOVEMBER One of One Thousand Societv Members Shootout events. Public program: Seasons of the Buffalo.2 pm. Historical Center Coe Auditorium. 19th Annual Plains Indian Seminar: Art of the Plains - Voices of the Present. Public program: Seasons of the Buffalo.2 pm. Historical Center Coe Auditorium. Public program'. Seasons of the Buffalo.2 pm. Historical I€I{5 is putrlished quiutsly # a ben€{it of membershlp in lhe Bufialo Eiil lfistorical Crnter Fu informatron Center Coe Auditorium. about mmberghip contact Jme Sanderu, Director o{ Membership, Bulfalo Bill'l{istorical Centet 7?0 Shdidan Avenuo, Cody, IAI{ 82414 o1 catl (30fl 58Va77l' *t 255 Buffalo Bill Historical Center closes for the season. Requst Bsmjssion to cqpy, xepdni or disftibuie dticles in ary ftedium ox fomat. -
Bob Haozous, Who Was Born in 1943, the Camera Pans the Isurface of a Red Rusted Iron Wolf, Silhouetted Against a Clear Blue New Mexico Sky
n the opening frames of a 1992 documentary on the Chiricahua Apache Bob sculptor Bob Haozous, who was born in 1943, the camera pans the Isurface of a red rusted iron wolf, silhouetted against a clear blue New Mexico sky. On the film’s soundtrack a restless wind animates the moment. Haozous Piercing the animal’s prancing body is a second silhouette, a small human figure captured in free fall, forever separated from safety, forever the color Allan J. Ryan of a changing sky. The figure is there, but not really, framed in negative space. The wolf, teeth clenched, head cocked to the heavens, with a bil - lowing plume for a tail, bristles with danger and delight. It is playful, but not really. Wolf (1987) is a singular work fraught with dramatic tension and shrouded in mystery, mute testament to a disquieting narrative that finds added expression in the tangle of tumbling human bodies falling all around the sculpture’s base. Who are these people, and what is their story? There must be a story. All of Haozou s’s works have a story, a probing and critical narrative subtext that has remained remarkably consistent over the last four decades, regardless of medium: in the polished wood figurative stud - ies from the 1970s, in the marble torsos and limestone busts of the 1980s, in the bullet-riddled pull toys and monumental steel sculptures of the late 1980s and 1990s, and in the mixed-media pieces of the new millennium that incorporate drawings, text and photography. In each of these works, viewers are invited to think reflexively, con - sidering -
Indian Art As Dialogue: the Tricky Transgressions of Bob Haozous
Indian Art As Dialogue: The Tricky Transgressions of Bob Haozous Item Type text; Electronic Dissertation Authors Morris, Traci L. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 11:11:35 Link to Item http://hdl.handle.net/10150/194126 INDIAN ART AS DIALOGUE: THE TRICKY TRANSGRESSIONS OF BOB HAOZOUS by Traci Lynn Morris ______________________ Copyright © Traci Lynn Morris 2005 A Dissertation Submitted to the Faculty of the DEPARTMENT OF AMERICAN INDIAN STUDIES In Partial Fulfillment of the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2005 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Traci L. Morris entitled Indian Art As Dialogue: The Tricky Transgressions of Bob Haozous and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy in American Indian Studies _______________________________________________________________________ Date: 4/8/05 Barbara A. Babcock _______________________________________________________________________ Date: 4/8/05 Mary Jo Fox _______________________________________________________________________ Date: 4/8/05 Joseph (Jay) Stauss _______________________________________________________________________ Date: 4/8/05 Tom Holm _______________________________________________________________________ Date: 4/8/05 Sarah Moore Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. -
Inspirational Leadership Curriculum for Grades 8-12
The National Native American Hall of Fame recognizes and honors the inspirational achievements of Native Americans in contemporary history For Teachers This Native American biography-based curriculum is designed for use by teachers of grade levels 8-12 throughout the nation, as it meets national content standards in the areas of literacy, social studies, health, science, and art. The lessons in this curriculum are meant to introduce students to noteworthy individuals who have been inducted into the National Native American Hall of Fame. Students are meant to become inspired to learn more about the National Native American Hall of Fame and the remarkable lives and contributions of its inductees. Shane Doyle, EdD From the CEO We, at the National Native American Hall of Fame are excited and proud to present our “Inspirational Leadership” education curriculum. Developing educational lesson plans about each of our Hall of Fame inductees is one of our organization’s key objectives. We feel that in order to make Native Americans more visible, we need to start in our schools. Each of the lesson plans provide educators with great information and resources, while offering inspiration and role models to students. We are very grateful to our supporters who have funded the work that has made this curriculum possible. These funders include: Northwest Area Foundation First Interstate Bank Foundation NoVo Foundation Dennis and Phyllis Washington Foundation Foundation for Community Vitality O.P. and W.E. Edwards Foundation Tides Foundation Humanities Montana National Endowment for the Humanities Chi Miigwech! James Parker Shield Watch our 11-minute introduction to the National Native American Hall of Fame “Inspirational Leadership Curriculum” featuring Shane Doyle and James Parker Shield at https://vimeo.com/474797515 The interview is also accessible by scanning the Quick Response (QR) code with a smartphone or QR Reader. -
Media Worlds : Anthropology on New Terrain / Edited by Faye D
Media Worlds Media Worlds Anthropology on New Terrain EDITED BY Faye D. Ginsburg, Lila Abu-Lughod, and Brian Larkin UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2002 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Media worlds : anthropology on new terrain / edited by Faye D. Ginsburg, Lila Abu-Lughod, and Brian Larkin. p. cm. Includes bibliographical references and index. isbn 0-520-22448-5 (Cloth : alk. paper)— isbn 0-520-23231-3 (Paper : alk. paper) 1. Mass media and culture. I. Ginsburg, Faye D. II. Abu-Lughod, Lila. III. Larkin, Brian. P94.6 .M426 2002 302.23—dc21 2002002312 Manufactured in the United States of America 11 10 09 08 07 06 05 04 03 02 10 987654 321 The paper used in this publication meets the minimum require- ments of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper).8 For Annie, Sinéad, Adrian, Justine, and Samantha, whose media worlds will be even fuller than ours. It is often said that [media have] altered our world. In the same way, people often speak of a new world, a new society, a new phase of history, being created—“brought about”—by this or that new technology: the steam engine, the automobile, the atomic bomb. Most of us know what is generally implied when such things are said. But this may be the central difficulty: that we have got so used to statements of this general kind, in our most ordinary discussions, that we fail to realise their specific meanings. -
Morris Carlsten 8-Page
TricksterTrickster inin ContemporaryContemporary The Indigenous Cultural Language of Bob Haozous Traci L. Morris-Carlsten ob Haozous descends from the Warm Springs band of Chiricahua Apache who were prisoners of war 1 1 1. Immigrant, 2004. Pen, ink, watercolor. 22 ⁄2" high, 28 ⁄2" wide Bhoused at Fort Sill Military reserve in Oklahoma. (57.2 cm x 72.4 cm). Collection of the artist. Haozous’s legally designated tribal affiliation is Warm Springs/Chiricahua Apache and federally designated Chiricahua Apache/Warm Springs Fort Sill Apache Tribe. His great-great-grandfather was Mangas Coloradas and his grandfather Sam Haozous was Geronimo’s nephew and translator (Rushing and Houser 2004). Haozous’s father was sculptor Allan Houser (b.1914, d.1994). Haozous (b.1943) began painting commercial signs under his father’s instruction around 1958. After high school, he entered Utah State University in Logan, where he majored in commercial art but did not gradu- ate. After leaving school, Haozous moved to Santa Fe, New Mexico, where he and one of his brothers spent a summer working at the Institute of American Indian Arts (IAIA) on the building crew. Like so many young Indian men of the time, he entered the military service as a way “to break some kind of negative cycle” (Haozous 2004). He joined the United States Navy in 1963 and served 3. The Masterpiece, 1976. Mahogany. 120" x 96" x 4" (304.8 cm x 2. Skull, from the Love and Death series, c.1985. Limestone. AQ 243.8 cm x 10.2 cm). Courtesy of the Daybreak Star Cultural Arts size. -
Infinity of Nations Article in American Indian Art Magazine
COVER Autumn 2010 final:COVER winter 2005 6/16/10 1:46 AM Page 1 $6.00 VOLUME 35 NUMBER 4 AUTUMN 2010 AUTUMN 35 NUMBER 4 VOLUME AUTUMN 2010 INFINITY OF NATIONS: Art and History in the Collections of the National Museum of the American Indian nfinity of Nations: Art and History in the Collections superlative assemblage of American Indian cultural mate of the National Museum of the American Indian is a rial represents the tremendous breadth and scope of the tenyear exhibition opening at the National Museum collections of NMAI, as well as the remarkable richness of the American Indian’s (NMAI) George Gustav of Native traditional and contemporary art. It also explores IHeye Center, New York on October 23, 2010.1 It presents the historic importance of a significant number of these more than 700 works of art from throughout Native deeply cultural, profoundly social objects. North, Central and South America. Objects include In a departure for the museum, Infinity of Nations is intriguing and remarkably early bird stones used as organized regionally. Each of its ten geographic sections, atlatl weights and dating to 3000 to 1000 B.C. (Fig. 4), however, should be seen as neither bounded nor static. a superb MocheHuari Andean tunic possibly from Then as now, longdistance trade, intellectual exchange, Campanario, Peru and dating to A.D. 700 to 900, an un migration and religious pilgrimage, political expansion paralleled Mexica (Aztec) sculpture of a maize goddess ism, military conflict and diasporas all created a high probably from Tenochtitlan, Mexico and dated circa A.D. -
Acts of Rebellion
ACTS OF REBELLION ALSO BY WARD CHURCHILL Authored Fantasies of the Master Race: Literature, Cinema, and the Colonization of American Indians (1992, 1998) Struggle for the Land: Native North American Resistance to Genocide, Ecocide, and Colonization (1993, 1999) Indians ‘R’ Us: Culture and Genocide in Native North America (1994, 2002) Since Predator Came: Notes from the Struggle for American Indian Liberation (1995) Que Sont les Indiens Devenue? Culture et génocide chez les Indiens d’Amerique du Nord (1996) From a Native Son: Essays in Indigenism, 1985–1995 (1996) Perversions of Justice: Indigenous Peoples and Angloamerican Law (2002) Co-authored Culture versus Economism: Essays on Marxism in the Multicultural Arena, with Elisabeth R.Lloyd (1984) Agents of Repression: The FBI’s Secret Wars Against the Black Panther Party and the American Indian Movement, with Jim Vander Wall (1988, 2002) The COINTELPRO Papers: Documents from the FBI’s Secret Wars Against Dissent in the United States, with Jim Vander Wall (1990, 2002) Pacifism as Pathology: Reflections on the Role of Armed Struggle in North America, with Mike Ryan (1996) Edited Marxism and Native Americans (1983) Critical Issues in Native North America, Volumes 1 and 2 (1989–1990) Die indigen Nationen Nordamerikas und die Marxistishe Tradition: Debatte über eine revolutionäre Theorie der Kulture (1993) In My Own Voice: Explorations in the Sociopolitical Context of Art and Cinema, by Leah Renae Kelly (2001) Co-edited Cages of Steel: The Politics of Imprisonment in the United States, with J.J.Vander Wall (1992) Islands in Captivity: The Record of the International Tribunal on the Rights of Indigenous Hawaiians, Volumes 1, 2, and 3, with Sharon H.Venne (2002) ACTS OF REBELLION THE WARD CHURCHILL READER WARD CHURCHILL ROUTLEDGE New York London Published in 2003 by Routledge 29 West 35th Street New York, New York 10001 www.routledge-ny.com Routledge is an imprint of the Taylor & Francis Group. -
Subordination and Resistance on a Global Arts Stage Nancy M
Visual Anthropology, 17: 229–245, 2004 Copyright # Taylor & Francis, Inc. ISSN: 0894-9468 print=1545-5920 online DOI: 10.1080/08949460490468027 ‘‘We Have All Been Colonized’’1: Subordination and Resistance on a Global Arts Stage Nancy M. Mithlo A century of Native American arts commerce in Santa Fe, New Mexico, has resulted in a market in which visual artists report severe restrictions, both in the content of their work and its reception. This case study examines the efforts of a contemporary native arts collective based in Santa Fe that sought to ‘‘create culturally-significant art free of the pressures of a commercially-driven society.’’ The forum the group chose was the global stage of the Venice Biennale. The 1999 and 2001 Biennale exhibitions sponsored by the Native American Arts Alliance demonstrated that the area of greatest tension for organizers, artists and audience concerned ideas of authorship and control. While this international presentation offered an alternative approach to arts production and reception outside a buy-and-sell arena, traditional arts commerce rules continued to inform the exchange of information. New ideas of authorship and control reflective of a collectivist attitude collapsed to established models of economic transactions based on individualism. The author concludes that cultural arts ex- ploitation cannot be altered by erasure of economic constraints alone, but is more poignantly informed by internalized notions of disempowerment and subordination, largely in reaction to corporate appropriation and legal systems of ownership. The identification and application of an indigenous knowledge systems approach is advocated as a research methodology for understanding contemporary native arts productions. -
Redefining Indigenous Perspectives Through Art and Dialogue
THE SIMON ORTIZ AND LABRIOLA CENTER LECTURE ON INDIGENOUS LAND, CULTURE, AND COMMUNITY BOB HAOZOUS Redefining Indigenous Perspectives through Art and Dialogue THURSDAY, MARCH 15, 2012 7:00 P.M. Heard Museum, Steele Auditorium (2301 N Central Ave) | www.heard.org | Phoenix, Arizona Bob Haozous. Warm Springs Chiricahua Apache, b. 1943. “Ozone Madonna,” 1989. Painted mahogany, steel. Heard Museum Collection. Photograph by Craig Smith. Lecture is free of charge and open to the public. Bob Haozous was born in Santa Fe, New Mexico in that his father, Allan Houser, helped to define. He is WHAT REALLY BOTHERS 1943 to Allan Houser (Chiricahua Apache) and Anna best known for his monumental cut steel pieces which me more than anything is Marie Callegos (Navajo/English/Spanish). He grew often deal with poignant topical issues. He approaches up in northern Utah, where his parents were teachers these issues with a bit of a bite and a good dose of hu- that Native American art is at the Inter Mountain Indian School in Brigham City. mor. His injection of humor allows the serious issues based on the history, romance, Haozous studied at Utah State University before enlist- to be more palatable and to have a universal presence. and decoration of the past, or ing in the U.S. Navy, where he served for four years on Haozous has chosen to take back his Apache fam- on the art dictates of modern board of the USS Frank Knox during the Vietnam War. ily name to reject the Anglo version – Houser. This man. Our art isn’t dealing After the war, Haozous attended the California Col- name was given to his father as a child in an Oklahoma “with the profound problems lege of Arts and Crafts in Oakland, California, where Indian boarding school.