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Skidi Stories THESIS Presented in Partial Fulfillment Skidi Stories THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Brian Ray Barber Graduate Program in Art The Ohio State University 2012 Master's Examination Committee: Richard Harned, Advisor, Steven Thurston, George Rush Copyright by Brian Ray Barber 2012 Abstract The Pawnee traditionally lived between the Platte and Loup Rivers in what would become central Nebraska. In 1875 the majority of the Pawnee Nation moved to Indian Territory, bringing to an end their traditional way of life on the plains. My grandfather, the son of a tribal chief, was an important figure in the preservation of Pawnee artifacts in the twentieth century through large donations to major U.S. museums. These artifacts, along with the myths and folktales of the Pawnee, have inspired my artwork. I am fascinated by the Pawnee culture and am very proud to be a part of the Pawnee Nation. I look to draw meaning and insight from these traditions using glass as my chosen medium of expression. I combine the traditions of western art that I have spent the last sixteen years studying with the stories and traditions of this “lost universe” in an effort to live with the traditions of my ancestors. “We tell the stories of our past”, writes the ethnographer Keith Basso, “and in turn, history breathes life into us.” I have produced three individual pieces that are each based on a specific Pawnee myth. The final form of each piece is based on an architectural modeling process that best suites the conceptual thrust of the piece. I am interested in the intersection of art and architecture and how materials along with tradition meet at this point. Ultimately, I am interested in using architectural space as an atmosphere in which the sacred elements of the Pawnee may be embodied in an effort to represent the culture through stories. ii Dedication This document is dedicated to my wonderful wife, Amber. You see the best in me and bring it out. iii Acknowledgments I would like to thank all of those who have encouraged me along the way. I owe a great deal to Richard Harned for allowing me the opportunity to return to Ohio State and for guiding me through the past few years. As I move on to architecture school I will do my best to make you proud. George Rush for challenging me as I developed a voice of my own. I have had a few teachers along the way that have fundamentally shifted the way I look at things by broadening my view of the world around me. You are on that list George. Steve Thurston brought a degree of philosophical insight into my working process, and posed the most challenging questions in my reviews. You have helped me stay on track in a calm, thoughtful manner. Tom Hawk has always been an ever-present resource, not only for employment, but also for insight and positive thinking when I needed it the most. Tom, you are a true friend. Luca Rattazzi, for teaching me how to really work with glass and for giving the naïve kid from Ohio a chance to work in his shop. I miss those days. Finally, Preston Singletary for showing me that being a Native American, an artist, a mentor, and most importantly, a family man, is not an impossible endeavor. You live life well my friend and I admire you for it! iv Vita 2010- Present .................................................Instructor of Record Department of Art The Ohio State University 2001 - 2009 ....................................................Glassblower/Gaffer, Manifesto Corporation, Seattle, WA 2009 - 2010 ....................................................Volunteer, Hilltop Artist in Residence, Tacoma, WA 2000 ..............................................................Core Student, Penland School of Crafts, Penland, NC 1999 ...............................................................B.F.A. The Ohio State University Exhibitions 2012 ...............................................................Next Wave 2012: Master of Fine Art Thesis Exhibition Urban Arts Space The Ohio State University v 2005 ...............................................................Changing Hands 2: Art Without Reservation Museum of Arts and Design New York, NY 2002 ...............................................................Fusing Traditions Museum of Craft and Folk Art San Francisco, CA Fields of Study Major Field: Art vi Table of Contents Abstract............................................................................................................................... ii Dedication.......................................................................................................................... iii Acknowledgments ............................................................................................................. iv Vita...................................................................................................................................... v List of Figures.................................................................................................................. viii Chapter 1: Introduction...................................................................................................... 1 Chapter 2: Tradition............................................................................................................ 4 Chapter 3: Material ............................................................................................................. 7 Chapter 4: The Work ........................................................................................................ 11 Chapter 5: Conclusion ...................................................................................................... 24 Appendix A: Pawnee Stories ............................................................................................ 30 vii List of Figures Figure 1. Installation view in Urban Arts Space............................................................... 11 Figure 2. “A Story of Faith (Loup River)” ....................................................................... 12 Figure 3. Loup River drawing........................................................................................... 13 Figure 4. “A Story of Faith (Loup River)” detail ............................................................. 14 Figure 5. “When Stars Came to Earth”............................................................................. 15 Figure 6. Elk skin map...................................................................................................... 16 Figure 7. “When Stars Came to Earth” drawing............................................................... 18 Figure 8. Kepler’s drawing of the universe ...................................................................... 19 Figure 9. “Pawnee Lodge”................................................................................................ 20 Figure 10. Pawnee Lodge drawing ................................................................................... 21 Figure 11. Pawnee village, 1868....................................................................................... 22 Figure 12. Pawnee Buttes ................................................................................................. 23 Figure 13. “The Breath of Heaven, The Vault of Heaven” .............................................. 26 Figure 14. “The Great Cleansing Ceremony”................................................................... 27 viii Chapter 1: Introduction The Loup River is a 68-mile tributary of the Platte River in central Nebraska. Like the land between the Tigris and Euphrates Rivers, the fertile land between the Platte and Loup Rivers once provided for its inhabitants everything they needed to survive. It was a veritable Garden of Eden for the Pawnee Nation. Along the north bank of the Loup River the lives and stories, traditions and ceremonies of my ancestors, the Skidi Pawnee, took place and were passed on from generation to generation. There are universal truths found in these stories that speak to everyone. We find a connection and a feeling of camaraderie, in the troubles and triumphs of the protagonists. To the authors, life and death were found in the rolling grasslands, in the blanket of stars across the night sky, and in the rivers that fed their Garden. It was a cosmos to itself, a grand story that took place over hundreds, perhaps thousands of years. My trips through Nebraska have been tied to an imaging of how the landscape appeared to the Skidi two hundred years ago, before their move to the reservation in Oklahoma. The Platte and Loup Rivers meandered through this landscape as two crystal clear arteries of life, untouched and not yet polluted by “progress”. The only earth- altering element in the landscape was the enormous herds of buffalo, numbering in the tens of thousands each. How beautiful the grassy landscape must have been, sparsely populated by men and trees; the currents of air recorded by the tall grass, mimicked the waves and rhythms of a far off ocean. The sky, unframed by buildings or other signs of 1 man must have seemed so large and wonderful. There are remnants of this universe in the ground: ruins of an Earthlodge, arrowheads, and fragments of bones. These are evidence of the stories that took place here, “that happened here, in this very place.”1 We all participate in a story, and ultimately our stories help to create communities. Each of these communities eventually fades and bleeds into the next. Realities become memories,
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