DOCSLIB.ORG

The Pencil Is the Key

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Pencil Is the Key 3/27/2020 Native American Art Magazine - Issue #24 - The Pencil is the Key 3/27/2020 December/January 2019 EditiNativeon American Art Magazine - Issue #24 - The Pencil is the Key Preview New Artworks December/January 2019 Edition Publication:GAL NativeLE AmericanRY P ArtR MagazineEVIEWS Preview New Afrtowmor Gksalleries Date: January 5, 2020 from GalleriesC oast-to-Coast Author:GA TheLL DrawingERY CenterPREVIEWS THROUGH JANUARY 5, 2020 | THE DRAWING CENTER | NEW YORK, NY Coast-to-Coas3t2 artworks for sale. THROUGH JANUARY 5, 2020 | THE DRAWING CENTER | NEW YORK, NY 32 artworks for sale. Advertisers in this edition ThThee P Penecnilc iisl tihse t Kehey Key Advertisers in this edition TThhee P Penciencil isl tihse t Kheey :K Derayw: Dingrasw bying Incas brcey rIncaated rAcertisratst,e odn Aviretwists, on view tthhrorougugh hJa Jnuaanuary 5,r y2020, 5, 2020, conta icons ntseaveinsral lseedvgerr adrl alewdingges.r drawings. nn 1 919969, t6h,e t Dhrea wDirnagw Cienngte Cr ienn Ntewr iYno rNk ecow-o Yrgoarnki zceod- tohreg eaxnhiizbietdio nth Pela einxsh Iinbdiitaino nLe Pdglaerins Indian Ledger Drawings, which raised public interest in the art form. Its current exhibition, e Pencil is I Drawings, which raised public interest in the art form. Its current exhibition, e Pencil is tIhe Key: Drawings by Incarcerated Artists, on view through January 5, 2020, contains several ltehdgee Kr derya:w Dinrgasw. ings by Incarcerated Artists, on view through January 5, 2020, contains several ledger drawings. Click on individual art galleries below. Click on individual art galleries below. Attributed to Howling Wolf (Ho-na-ist-to) (Southern Cheyenne, 1849-1927), ledger drawing, Central Plains, ca. 1875, graphite and colored pencil on lined paper, 5 5/8 x 7" Aniko Erdosi, director of Donald Ellis Gallery in New York, comments, “e exhibition examines the art of past and contemporary artists throughout the world who have experienced incarceration or who developed as artists while incarcerated. Donald Ellis Gallery is the proud lender of a group of important ledger drawings produced by Native Americans while imprisoned Attributed to Howling Wolf (Ho-na-ist-to) (Southern Cheyenne, 1849-1927), ledger drawing, Central Plains, at Fort Marion, St. Augustine, Florida, from 1875 to 1878.” ca. 1875, graphite and colored pencil on lined paper, 5 5/8 x 7" Aniko Erdosi, director of Donald Ellis Gallery in New York, comments, “e exhibition examines the art of past and contemporary artists throughout the world who have experienced incarceration or who developed as artists while incarcerated. Donald Ellis Gallery is the proud lender of a group of important ledger drawings produced by Native Americans while imprisoned at Fort Marion, St. Augustine, Florida, from 1875 to 1878.” https://www.nativeamericanartmagazine.com/issues/24/the-pencil-is-the-key 1/5 https://www.nativeamericanartmagazine.com/issues/24/the-pencil-is-the-key 1/5 3/27/2020 Native American Art Magazine - Issue #24 - The Pencil is the Key December/January 2019 Edition Preview New Artworks GALLERY PREVIEWS from Galleries Coast-to-Coast THROUGH JANUARY 5, 2020 | THE DRAWING CENTER | NEW YORK, NY 32 artworks for sale. The Pencil is the Key Advertisers in this edition The Pencil is the Key: Drawings by Incarcerated Artists, on view through January 5, 2020, contains several ledger drawings. n 1996, the Drawing Center in New York co-organized the exhibition Plains Indian Ledger I Drawings, which raised public interest in the art form. Its current exhibition, e Pencil is the Key: Drawings by Incarcerated Artists, on view through January 5, 2020, contains several ledger drawings. Click on individual art galleries below. Native American Art Magazine, p.2 Attributed to Howling Wolf (Ho-na-ist-to) (Southern Cheyenne, 1849-1927), ledger drawing, Central Plains, ca. 1875, graphite and colored pencil on lined paper, 5 5/8 x 7" Aniko Erdosi, director of Donald Ellis Gallery in New York, comments, “e exhibition examines the art of past and contemporary artists throughout the world who have experienced incarceration or who developed as artists while incarcerated. Donald Ellis Gallery is the proud lender of a group of important ledger drawings produced by Native Americans while imprisoned at Fort Marion, St. Augustine, Florida, from 1875 to 1878.” 3/27/2020 Native American Art Magazine - Issue #24 - The Pencil is the Key https://www.nativeamericanartmagazine.com/issues/24/the-pencil-is-the-key 1/5 Attributed to Bear’s Heart (Nokkoist) (Southern Cheyenne, 1851-1882), ledger drawing, Central Plains, ca. 1875-78, watercolor, graphite and colored pencil on paper, 85/8 x 11¼" Native American pictographic art was once painted on buffalo hides. As the buffalo herds were slaughtered and the availability of buffalo hides for painting diminished, warrior artists turned to drawing in ledger books originally used for record keeping by Anglo businessmen and the government. Often, the pages still contained the bookkeeping entries. e artists acquired lead pencils, colored pencils and pens and continued to document their personal narratives in a changing world. Howling Wolf (Ho-na-nist-to) (1849-1927) was a Southern Cheyenne warrior and one of the most important Plains artists. His father was Eagle Head, a warrior and council chief, who supported peaceful coexistence with the Anglos. In 1864, when Howling Wolf was about 15, his encampment of Cheyenne and Arapaho was attacked by the Colorado militia at Sand Creek leaving more than 175 dead in what is now known as the Sand Creek Massacre. In 1875, he, his father and about 70 chiefs and warriors from several tribes were arrested by the federal government and incarcerated at Fort Marion. +1 https://www.nativeamericanartmagazine.com/issues/24/the-pencil-is-the-key 2/5 3/27/2020 Native American Art Magazine - Issue #24 - The Pencil is the Key Attributed to Bear’s Heart (Nokkoist) (Southern Cheyenne, 1851-1882), ledger drawing, Central Plains, ca. 1875-78, watercolor, graphite and colored pencil on paper, 85/8 x 11¼" Native American Art Magazine, p.3 Native American pictographic art was once painted on buffalo hides. As the buffalo herds were slaughtered and the availability of buffalo hides for painting diminished, warrior artists turned to drawing in ledger books originally used for record keeping by Anglo businessmen and the government. Often, the pages still contained the bookkeeping entries. e artists acquired lead pencils, colored pencils and pens and continued to document their personal narratives in a changing world. Howling Wolf (Ho-na-nist-to) (1849-1927) was a Southern Cheyenne warrior and one of the most important Plains artists. His father was Eagle Head, a warrior and council chief, who supported peaceful coexistence with the Anglos. In 1864, when Howling Wolf was about 15, his encampment of Cheyenne and Arapaho was attacked by the Colorado militia at Sand Creek leaving more than 175 dead in what is now known as the Sand Creek Massacre. In 1875, he, his father and about 70 chiefs and warriors from several tribes were arrested by the federal government and incarcerated at Fort Marion. +1 https://www.nativeamericanartmagazine.com/issues/24/the-pencil-is-the-key 2/5 Native American Art Magazine, p.4 3/27/2020 Native American Art Magazine - Issue #24 - The Pencil is the Key Attributed to Howling Wolf (Ho-na-ist-to) (Southern Cheyenne, 1849-1927), Osage and Cheyenne Chiefs, Having Been Long at War Making Friends, ledger drawing, Central Plains, ca. 1875-78, ink, colored pencil and plaster on paper, 12½ x 15¾" Often the prisoners were able to sell their drawings. Bear’s Heart (Nokkoist) (1851-1882) sold one his drawings to a U.S. senator who had traveled to Fort Marion. e drawing is in the exhibition. e Pencil is a Key contains about 140 drawings by imprisoned artists from around the globe. Featuring works produced over a roughly 200-year period, it includes work by Gustave Courbet who was imprisoned for his role in the Paris Commune uprising in 1871 as well as work by Ruth Asawa, caught up in the U.S. government’s mass internment of Japanese Americans during World War II. +14 Attributed to Bear’s Heart (Nokkoist) (Southern Cheyenne, 1851-1882), ledger drawing, Central Plains, ca. 1875-78, watercolor, graphite and colored pencil on paper, 85/8 x 11¼" Attributed to Etahdleuh Doanmoe (Kiowa, 1856-1887), The Indians Coming from Fort Marion, St. Augustine, Florida, to Hampton, VA April 1878, ledger drawing, Central Plains, ca. 1875-78, pencil, ink and watercolor on paper, 13 x 17" https://www.nativeamericanartmagazine.com/issues/24/the-pencil-is-the-key 3/5 3/27/2020 Native American Art Magazine - Issue #24 - The Pencil is the Key Attributed to Howling Wolf (Ho-na-ist-to) (Southern Cheyenne, 1849-1927), Osage and Cheyenne Chiefs, Having Been Long at War Making Friends, ledger drawing, Central Plains, ca. 1875-78, ink, colored pencil and plaster on paper, 12½ x 15¾" Often the prisoners were able to sell their drawings. Bear’s Heart (Nokkoist) (1851-1882) sold one his drawings to a U.S. senator who had traveled to Fort Marion. e drawing is in the exhibition. e Pencil is a Key contains about 140 drawings by imprisoned artists from around the globe. Featuring works produced over a roughly 200-year period, it includes work by Gustave Courbet who was imprisoned for his role in the Paris Commune uprising in 1871 as well as work by Ruth Asawa, caught up in the U.S. government’s mass internment of Japanese Americans during World War II. +14 Native American Art Magazine, p.5 Attributed to Bear’s Heart (Nokkoist) (Southern Cheyenne, 1851-1882), ledger drawing, Central Plains, ca. 1875-78, watercolor, graphite and colored pencil on paper, 85/8 x 11¼" Attributed to Etahdleuh Doanmoe (Kiowa, 1856-1887), The Indians Coming from Fort Marion, St.
Load more

Recommended publications
  • Picturing History Brochure
    Fairfield University DigitalCommons@Fairfield Picturing History: Ledger Drawings of the Plains Picturing History: Ledger Drawings of the Plains Indians - Ephemera Indians 2017 Picturing History Brochure Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/ledgerdrawings-ephemera Recommended Citation Fairfield University Art Museum, "Picturing History Brochure" (2017). Picturing History: Ledger Drawings of the Plains Indians - Ephemera. 6. https://digitalcommons.fairfield.edu/ledgerdrawings-ephemera/6 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. PICTURING HISTORY Ledger Drawings of the Plains Indians Fairfield University Art Museum Introduction and Acknowledgments PICTURING HISTORY n the second half of the nineteenth century, artists from the Plains Indian peoples (Lakota, Cheyenne, Arapaho and others dwelling in the Western Ledger Drawings of the Plains Indians IUnited States and Canada) produced an extraordinarily rich and distinctive body of drawings chronicling battles, rituals, and the winsome if sometimes jarring events of everyday life. Later, the subject matter shifts to focus on the forced captivity of Native Americans and the suppression of September 27 - December 20, 2017 indigenous traditions and practices.
    [Show full text]
  • Imprisoned Art, Complex Patronage
    Imprisoned Art, Complex Patronage www.sarpress.sarweb.org Copyrighted Material Figure 4. “The young men, Prisoners, taken to Florida,” Saint Augustine, Florida, 1875. Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library, 1004474. 2 ❖ Copyrighted Material ❖ CHAPTER ONE ❖ The Southern Plains Wars, Fort Marion, and Representational Art Drawings by Zotom and Howling Wolf, the one a Kiowa Indian and the other a South- ern Cheyenne, are histories of a place and time of creation—Fort Marion, Florida, in the 1870s. These two men were among seventy-two Southern Plains Indian warriors and chiefs selected for incarceration at Fort Marion, in Saint Augustine, at the end of the Southern Plains wars. Among the Cheyenne prisoners was a woman who had fought as a warrior; the wife and young daughter of one of the Comanche men also went to Florida, but not as prisoners. During their three years in exile, Zotom, Howling Wolf, and many of the other younger men made pictures narrating incidents of life on the Great Plains, their journey to Florida, and life at Fort Marion. The drawings explored in this book also have a history subsequent to their creation, a history connected to the patron of the drawings and her ownership of them. Other audiences who have seen and studied Zotom’s and Howling Wolf’s drawings are part of the works’ continuing histories, too. Plains Indian drawings and paintings, including works created by men imprisoned at Fort Marion, were visual narratives, intended to tell stories. Those stories still live, for history is, simply put, composed of stories about the past.
    [Show full text]
  • Native Americans in New England Curricular Project
    Native Americans in New England Curricular Project Title(255 characters or fewer): “Trick or Treaty?” Treaty Negotiations in 18th and 19th Century North America Grade Level (K-2, 3-5, 6-8, 9-12): Grades 9-12 Subject Area Focus: Social Studies Estimated Number of Days to Complete: Submitted by: Jennifer J. Gomez (Bolles School, Jacksonville FL) and Matt Livingood (Street School, Tulsa OK) Original Plan Submitted August, 2013 *This lesson plan will be submitted for inclusion into an on-line database of curricular projects for the NEH program Native Americans in New England. Curricular Project Summary: When students are asked to summarize interactions between Indian peoples and Euro-Americans on the North American continent, they often describe the relations as tenuous, violent, and one- sided, pointing to the “inevitability” of westward expansion and dispossession of Indian lands. Indians were often manipulated by treaties crafted by shrewd, greedy whites. While this interpretation has some merit, the simple explanation of warfare, deception, and removal does not tell the complete story and undermines the complexities of the relationship between Indian peoples and Euro-Americans from the time of contact to the present day. Historian Colin Calloway argues in “treaty after treaty Europeans and Americans produced documents…to justify, codify, and perpetuate their acquisition and occupation of America.” Indian leaders often understood written treaties had the authority to take away Indian lands, often referring to the process as “pen and ink
    [Show full text]
  • Fort Marion Prisoners and the Trauma of Native Education Diane Glancy
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and University of Nebraska Press Chapters Summer 2014 Fort Marion Prisoners and the Trauma of Native Education Diane Glancy Follow this and additional works at: http://digitalcommons.unl.edu/unpresssamples Glancy, Diane, "Fort Marion Prisoners and the Trauma of Native Education" (2014). University of Nebraska Press -- Sample Books and Chapters. 283. http://digitalcommons.unl.edu/unpresssamples/283 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Fort Marion Prisoners and the Trauma of Native Education Buy the Book Th e Catch, Bear’s Heart, Ledger Book Drawing. National Museum of the American Indian, Smithsonian Institution (D206231). Buy the Book Fort Marion Prisoners and the Trauma of Native Education Diane Glancy University of Nebraska Press Lincoln and London Buy the Book © 2014 by the Board of Regents of the University of Nebraska Acknowledgments for the use of copyrighted material appear on pages 119– 20, which constitute an extension of the copyright page. All rights reserved Manufactured in the United States of America Library of Congress Cataloging- in- Publication Data Glancy, Diane. Fort Marion prisoners and the trauma of native education / Diane Glancy. pages cm Summary: “Narratives of Kiowa, Cheyenne, Arapaho, Comanche and Caddo prisoners taken to Ft. Marion, Florida, in 1875 interspersed with the author’s own history and contemporary refl ections of place and identity”—Provided by publisher.
    [Show full text]
  • An Artful Accounting of a Culture Under Duress
    R8 • GLOBE ARTS G THE GLOBE AND MAIL • SATURDAY, JULY 19, 2014 VISUAL ART .......................................................................................................................................................................................................................................................................................................................................................................... Sheridan Pages (Sundance), Southern Cheyenne, ca. 1885, coloured pencil and graphite on lined paper (ALL PHOTOS BY JOHN BIGELOW TAYLOR/COURTESY TREPANIERBAER GALLERY) issues. It was this sense of mission and, of course, expertise that recently brought Frank to Calgary’s Trépa- nierBaer Gallery as guest speaker at the opening of “Keeping Time: AN ARTFUL JAMES ADAMS Ledger Drawings and the Picto- [email protected] graphic Traditions of Native North Americans ca. 1820-1900.” ACCOUNTING ................................................................ For TrépanierBaer, which typi- t’s very complicated.” Ross cally showcases contemporary ‘IFrank was on the phone the artists such as Evan Penny and other day trying to explain, con- Chris Cran, it’s an unprecedented OF A CULTURE cisely, cogently, the “difficult his- exhibition and sale. The quality of tory” of Plains Indian ledger work available is impressive – drawings and how it couldn’t be there are almost 70 ledger draw- UNDER DURESS anything but complicated when ings by Sioux, Hidatsa, Arapaho the subject is a cultural phenom- and Cheyenne artists, with prices enon informed by unequal parts ranging from $8,500 to $95,000, subjugation, resistance, accultu- plus 20 or so related objects. They ration, appropriation, admira- include a pair of 1880 painted tion, creativity and, yes, beauty. Cheyenne parfleche rawhide An associate professor of ethnic bags, and a painted Crow shield studies at the University of Cali- and cover from 1870, made of buf- fornia San Diego and director of falo hide and deerskin which are the La Jolla-based Plains Indian selling for $175,000.
    [Show full text]
  • Guide to the Richard Henry Pratt Papers
    Yale University Library Beinecke Rare Book and Manuscript Library Yale Collection of Western Americana Guide to the Richard Henry Pratt Papers WA MSS S-1174 by Andrew Patterson August 1972 Revised: 2010-02-10 New Haven, Connecticut Copyright © 1996-2007 by the Yale University Library. Richard Henry Pratt papers WA MSS S-1174 - Page 2 Table of Contents Paging Instructions 4 Overview 4 Administrative Information 4 Provenance 4 Information about Access 5 Ownership & Copyright 5 Cite As 5 RICHARD HENRY PRATT (1840-1924) 5 Description of the Papers 5 Collection Contents 7 Series I. General Correspondence and Official Papers, 1867-1924 7 INCOMING LETTERS 7 OUTGOING LETTERS 23 LETTERS OF OTHERS 27 OFFICIAL PAPERS 29 Series II. Family Correspondence, 1862-1956 30 NANA PRATT HAWKINS 30 ANNA LAURA PRATT 31 MASON DELANO PRATT 33 RICHARD HENRY PRATT 33 RICHARD HENRY PRATT, II 35 SARAH PRATT 35 GUY LeROY STEVICK 35 MARION PRATT STEVICK 35 Series III. Addresses, Diaries, Writings, and Notes, 1862-1953 37 ADDRESSES 37 ARTICLES 38 DIARIES 38 MANUSCRIPTS 39 The Indian No Problem (early draft), 39 The Indian No Problem (later draft), 39 Indian Trails, 39 Battlefield and Classroom, 39 NOTES 39 FAMILY WRITINGS 40 MANUSCRIPTS 40 Battlefield and Classroom 40 Series IV. Photographs and Drawings, 1875-1904 41 Richard Henry Pratt papers WA MSS S-1174 - Page 3 PHOTOGRAPHS 41 NEGATIVES 42 DRAWINGS 42 Series V. Clippings and Miscellaneous Publications, 1874-1953 44 NEWSPAPERS, MAGAZINES, ETC. 44 Carlisle School publications: annual reports, 3 items, 1890, 1899 44 The Arrow, 3 items , 1904, 1907 44 The Carlisle Arrow and Red Man, 5 items , 1917 44 The Carlisle Arrow and Red Man, 3 items , 1918 44 Catalogue of the Indian IndustrialSchool, 1 item , 1902 44 The Indian Helper, 3 items , 1897 44 Invitations, menus, programs, miscellaneous, 13 items, n.d.
    [Show full text]
  • Sand Creek Massacre U.S
    ` National Park Service SAND CREEK MASSACRE U.S. Department of the Interior Sand Creek Massacre National Historic Site Cheyenne camp circa 1860’s – William S. Soule Photograph The Sand Creek Massacre Its victims numbered in the hundreds. Cheyenne and Arapaho survivors were displaced, relocated to Indian Territory. Its aftermath included congressional investigations, bitter critics, and staunch defenders, – reprisal, revenge, the mustering out of a Colonel and the resignation of a Governor. Sand Creek also gave rise to a new generation of federal Indian policies, new treaties at the Little Arkansas and Medicine Lodge – and the next generation of fighters and fights: Beecher Island, Washita, Summit Springs, Palo Duro Canyon, Sappa Creek, and the Little Big Horn. Sand Creek is among our nation’s most profound historic places. The event remains a powerful, and to some, sacred symbol of sacrifice and struggle. Seeds of Conflict As Colorado Territory grew, so to did the Fremont’s Orchard foreshadowed war. By tension and fear between settlers and June, the murders of the Hungate family native tribes. The settlers’ desire for near Denver and lingering fears of Indian land and prosperity was confronted by attacks like those at New Ulm, Minnesota nations who lived, hunted, and traveled which had claimed hundreds of lives, across the same areas. Negotiations increased tension among pioneers and between leaders – governors, agents Colorado officials. Assurances of amnesty and officers on one-side, chiefs and for “friendly” tribesmen were tempered by headmen on the other, failed. A a proclamation to “kill and destroy” reservation established in 1861 was hostiles. By summer, war would erupt insufficient for the nomadic Cheyenne across the plains of Nebraska, Kansas, and Arapaho.
    [Show full text]
  • Final Accounting: Traditional Ledger Art Speaks to Past and Future
    Facebook Connect Twitter Connect Sign In/Register Final Accounting: Traditional Ledger Art Speaks to Past and Future By Dina Gilio-Whitaker December 8, 2011 RSS Courtesy Braun Research Library Collection, Autry National Center; 4100.G.2. 4 "Arapahoe Chief" (left) and "Cheyenne Chief," by Howling Wolf RECENT NEWS ALERTS Read More: Art Books Native American Art Alzheimer’s Early Signs Canada Billing Attawapiskat for Third- In the world of American Indian art, one of the common debates among collectors and artists alike Party Audit That Community Doesn't Want revolves around what counts as “authentic” Indian art. “The ahistorical view is closely connected to Battle Over the Trees: Indigenous Peoples the romantic sense that Native arts are unchanging and that the only ‘real’ Native American art was Denounce REDD+ at COP 17 Talks created before European contact. If made after that time, it could be authentic only if it showed no Poll: New Yorkers Support Seneca Gaming evidence of contamination by non-Native influences.” over Commercial Companies So writes author Joyce Szabo in a new book called Imprisoned Art, Complex Patronage: Plains Where Myths Are Made: Bobby Bridger's Drawings by Howling Wolf and Zotom at the Autry National Center. The book is the latest release New Book Showcases Reinvention by Szabo, a professor of art history at the University of New Mexico whose scholarship focuses on early Plains Indian ledger art. Published by the School for American Research in Santa Fe, the book is a study of two historical artifacts from the 1870s, both books of ledger drawings made by captives See More Recent News Alerts of the Fort Marion prison camp in St.
    [Show full text]
  • Howling Wolf: an Autobiography of a Plains Warrior-Artist by Joyce M
    ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME XLVI, NUMBER 1, 1992 Contents Acknowledgments 3 Howling Wolf: An Autobiography of a Plains Warrior-Artist by Joyce M. Szabo 4 Museum Staff and Publications inside back cover Publishedtwice ayearby theAllen Memorial ArtMuseum. Oberlin College, Oberlin. Ohio. $15-00 ayear, this issue $7SO; mailed freeto members of the Friends of Art. Back issues available from theMuseum. Indexedin the Art Index and abstracted by BHA (Bibliography of the History of Art) and ARTbibliographies. Reproducedon University Microfilms. Ann Arbor. Michigan. Printed by Austin Printing Company. Akron. Ohio, with vegetable-based inks on recycled paper. COVER: Detail from page two of Oberlin's Howling Wolf Ledger, "Howling Wolf & Feathered Bear Are Courting Two Girls at the Spring Where They Were Getting Water." Ink, pencil, watercolor, and crayon on paper, 8 x 12 >/4 inches. Allen Memorial Art Musuem. Oberlin College. Gift of Mrs. Jacob D. Dox, 04.1180. Cover photograph by John Seyfried (Copyright© Oberlin College. 1992) ISSN: 0002-5739 This project is partly supported by funds from the Ohio Arts Council. Ohio Arts Council ¥• 2- Acknowledgments In 1904, Helen Finney Cox presented Oberlin College with an album of fifty- seven drawings by a Plains Indian artist. Thus the drawings that are the subject of '^: this issue of the Bi illetin came to Oberlin thirteen years before the existence of the Allen Memorial Art Museum itself. Al­ though included in a small exhibition of Native American art in 1978, they re­ mained largely unnoticed until Joyce M. Szabo published an article in the winter 1984 issue of Art fournal on Howling Wolf, a preeminent Southern Cheyenne warrior-artist, citing our drawings as important early examples of his work.
    [Show full text]
  • Aupdike Master Thesis 2005
    ABSTRACT ARTFUL LITERACIES: TRANSCULTURATION AND RESISTANCE IN THE LEDGER DRAWINGS OF NINETEENTH-CENTURY PLAINS INDIAN PRISONERS AT FORT MARION by Ann Sutton Updike This thesis examines the intersection of literacy, identity, and power within the nineteenth- century contact zone of Fort Marion, Florida, where from 1875-1878, a group of Plains Indian warriors underwent a compulsory assimilation program while being held as prisoners-of-war. The thesis begins by proposing a broader view of literacy that includes non-alphabetic forms and argues that pictographic ledger art was a literacy practice deeply integrated within Plains Indian warrior society. The thesis then argues that, within the Fort Marion site, several warriors transformed their centuries-old pictographic literacy practice into cultural autoethnographic texts to intervene in dominant modes of understanding. By negotiating this literary middle space, the prisoners were able to write themselves into the metropolitan discourse and mediate between the two cultures, providing alternatives to the dominant group’s often negative, paternalistic, and hostile representations of Native Americans. ARTFUL LITERACIES: TRANSCULTURATION AND RESISTANCE IN THE LEDGER DRAWINGS OF NINETEENTH-CENTURY PLAINS INDIAN PRISONERS AT FORT MARION A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of English by Ann Sutton Updike Miami University Oxford, Ohio 2005 Advisor: _________________________________________ Morris
    [Show full text]
  • Exploring the Legacy of American Plains Indians Ledger Drawings, an Art Form Weighted by Tragedy - the Globe and Mail
    8/6/2014 Exploring the legacy of American Plains Indians ledger drawings, an art form weighted by tragedy - The Globe and Mail Exploring the legacy of American Plains Indians ledger drawings, an art form weighted by tragedy James Adams The Globe and Mail Published Friday, Jul. 18 2014, 3:07 PM EDT Last updated Tuesday, Jul. 22 2014, 3:21 PM EDT “It’s very complicated.” Ross Frank was on the phone the other day trying to explain, concisely, cogently, the “difficult history” of Plains Indian ledger drawings and how it couldn’t be anything but complicated when the subject is a cultural phenomenon informed by unequal parts subjugation, resistance, acculturation, appropriation, admiration, creativity and, yes, beauty. An associate professor of ethnic studies at the University of California San Diego and director of the La Jolla­based Plains Indian Ledger Art Project, Frank is in the forefront of an effort to study, preserve and make available the riches of the mostly 19th­century art form. The illustrations were usually done on lined pages and in prosaic paper ledger books used to record, say, a merchant’s spending, or the disbursal of hardtack from a U.S. Army supply depot in Wyoming. Other ledgers might have contained the accounts of an Indian agent on a reservation in Nebraska, or, more sinisterly, the target practice scores of U.S. cavalrymen circa 1874 as they trained to subdue the Cheyenne, Kiowa and the other First Nations they believed were impeding the realization of America’s so­called Manifest Destiny. http://www.theglobeandmail.com/arts/art-and-architecture/exploring-the-legacy-of-american-plains-indians-ledger-drawings-an-art-form-weighted-by-tragedy/articl… 1/12 8/6/2014 Exploring the legacy of American Plains Indians ledger drawings, an art form weighted by tragedy - The Globe and Mail Sioux Medicine Men, attributed to Howling Wolf, Southern Cheyenne, ca.
    [Show full text]
  • Treaty Signing at Medicine Creek Lodge
    Treaty Signing At Medicine Creek Lodge Swirliest and unpitiful Huey crumples his eclipse rustled skirl after. Walsh discommend bronchoscopically? Stockingless Gabriello sometimes devocalised his palindrome mangily and enravishes so holus-bolus! The signing at medicine treaty site are unilateral statements purporting to exclude or other The intrinsic of infamous people commissioning them was to entity the authentic Indian production. Indians of everything country. Play on special lands south in peace with members were at medicine treaty creek lodge peace treaties which is not have taken into. Cavalry, the book listed the best marksmen in excellent company, in other records. Owing to lead low trickle of interest river, they failed to reach Fort Rice and returned downriver to Fort Sully, where talks were held as peaceful Sioux. Pila has refused outright broken? Its effects of what he was directly and many diverse area at a hollow victory as well in a dramatic backstage rescue of treaty signing at ensuring higher power. Our USA based company is specialized in offshore and another survey operations and sub sea oil detection. In college courses in fact that would erupt when editing your money displaying, thereby avoiding costly wars. If you grin just a coffee, lunch or whatever one can today, ANSWERTRIVIA could keep thriving. Native Americans picked the place known for Medicine Lodge. The signing at medicine lodge whose name appears at medicine creek story, signed on trial done differently, insisted that are now that country. Thank you want to the tribes, and comanche peoples. They watch be acute with farmers who would borrow with them might show them offspring they needed to three about farming.
    [Show full text]