Bibliografie tematiche / Indians of North America – Art – Exhibitions

Letteratura scientifica selezionata sul tema "Indians of North America – Art – Exhibitions"

Autore: Grafiati

Pubblicato: 26 luglio 2024

Ultima modifica: 27 luglio 2024

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Articoli di riviste sul tema "Indians of North America – Art – Exhibitions"

Strom, Mary Ellen, e Shane Doyle. "Cherry River". Nka Journal of Contemporary African Art 2021, n. 48 (1 maggio 2021): 112–30. http://dx.doi.org/10.1215/10757163-8971342.

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The multimedia exhibition Cherry River, Where the Rivers Mix was presented to audiences in August 2018 at the Missouri Headwaters State Park in Three Forks, Montana. Long before the European invasion across the Atlantic, the headwaters, or the confluence of three forks of the Missouri River, was a crossroads for Northern Plains Indians. The place-based project, Cherry River, created by artist Mary Ellen Strom and Native American researcher Shane Doyle, was produced by Mountain Time Arts, a collaborative arts and culture organization in southwestern Montana. In an effort to analyze the site, Mountain Time Arts convened a diverse group of participants. Their research question became, What does it take to change the name of a river? After six months of research, the project centered on the act of changing the name of the East Gallatin River back to the Indigenous Crow name Cherry River. The name Cherry River honors and describes the numerous chokecherry trees growing on the river’s banks that provide sustenance for wildlife and venerates Indigenous history, the ecology of running water, and riparian systems in the Northwest. The rise of interest in the rights of Indigenous people in North America aligns with many of Okwui Enwezor’s groundbreaking initiatives around the world. This assemblage of images, poetry, and first-person narratives is an example of the kind of practice in dialogue with the legacy of Enwezor’s decolonial actions and innovative use of curatorial strategies in several groundbreaking exhibitions to confront the “complex predicaments of contemporary art in a time of profound historical change and global transformation.” While Enwezor was neither an explicit source of inspiration nor invoked for the Cherry River project, the futures of Enwezor are palpable in this anticolonial project restoring the past to reimagine the present.

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Tyquiengco, Marina, e Monika Siebert. "Are Indians in America's DNA?" Contemporaneity: Historical Presence in Visual Culture 8 (30 ottobre 2019): 80–97. http://dx.doi.org/10.5195/contemp.2019.288.

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A conversation between Dr. Monika Siebert and Marina Tyquiengco on: Americans National Museum of the American Indian January 18, 2018–2022 Washington, D.C. Monika Siebert, Indians Playing Indian: Multiculturalism and Contemporary Indigenous Art in North America. Tuscaloosa: University of Alabama Press, 2015.

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Davis, Richard H. "Indian Art Objects as Loot". Journal of Asian Studies 52, n. 1 (febbraio 1993): 22–48. http://dx.doi.org/10.2307/2059143.

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Let us imagine a graceful bronze image of Dancing Śiva before us. It was perhaps created by a Cola artist in eleventh-century Tamilnad to be installed in a temple to receive offerings of worship, and to parade around the town in a ceremonial palanquin on festival days. From there, this image might have followed any of several paths to stand before us now in a North American museum. Perhaps it was buried under a banyan tree in the fourteenth century when invading Islamic armies, feared for their iconoclasm, marched through the Kaveri delta on their way to Madurai. It could have been disinterred in the nineteenth century, during British rule, by a Tamil workman on a road crew, who showed it to the civil engineer, who brought it to the attention of the District Collector, who passed it on to the Director of Archaeology. In the twentieth century, perhaps, when an international market developed for such objects, it might have ended up in an auction room, a cosmic dance sold to the highest bidder. Or a government expert on culture might have selected it, after its long hibernation in the basement storehouse of its temple, as an image worthy to travel abroad as an ambassador of independent India in the international diplomatics of traveling exhibitions.

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Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941". ShodhKosh: Journal of Visual and Performing Arts 3, n. 2 (20 ottobre 2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.

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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.

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Mondloch, Kate. "The Influencers: Van Gogh Immersive Experiences and the Attention-Experience Economy". Arts 11, n. 5 (20 settembre 2022): 90. http://dx.doi.org/10.3390/arts11050090.

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Van Gogh immersive exhibitions—multi-sited, branded multimedia environments inspired by the artist’s life and paintings—are seemingly ubiquitous in 2022. These itinerant digital spectacles bundle reproductions of Vincent Van Gogh’s most recognizable artistic motifs with tropes of fin-de-siècle madness, bathing their visitors in an artistic wonderland of projected images and soundscapes spread throughout cavernous exhibition venues. The popularity of these commercial juggernauts is unmatched. At present, at least five different companies are staging competing versions of digital Van Gogh art exhibitions in dozens of cities worldwide, with a particular emphasis at present on sites throughout North America. How are we as art critics to make sense of these exhibitions as well as their influence within the institutional context of the visual arts? Taking the digital Van Gogh phenomenon as its central case study, this article investigates the emerging art-themed immersive exhibition model and explores the specific mode of spectatorship it promotes. Situating these projects within the broader framework of the contemporaneous attention and experience economies, and with an eye toward the crucial role of social media, I propose that art-themed immersive exhibitions such as the Van Gogh immersive experiences exemplify habits of digitally-mediated, 24/7 immersive attention and consumption in art and in everyday life.

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Nedelcu, Liviu. "Performance Art After The 1990s". Theatrical Colloquia 10, n. 1 (1 maggio 2020): 74–87. http://dx.doi.org/10.2478/tco-2020-0005.

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AbstractPerformance art has become over-represented in contemporary art museums, at art fairs, at major international exhibitions. In this context, I have proposed a brief overview of the history of performance in North America and Europe, to identify conceptual variations or continuities in post-1989 performing arts practices. What kind of queries caused the resort to the body? Which of the criticisms are still current and which new issues are formulated in the present geopolitical framework or in particular socio-political contexts? In order to answer these questions, I’ve selected a number of national and international male/ female artists whose practices illustrate the main directions in today’s performance art.

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Dwyer, Melva J. "Art book publishing in Canada". Art Libraries Journal 17, n. 3 (1992): 34–37. http://dx.doi.org/10.1017/s030747220000794x.

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Canadian publishing was inhibited from the beginning by Canada’s colonial origins and dependence on Great Britain and the USA. Few art books were published until quite recently; the relatively small, scattered population, the flooding of the market with British, American and (in Quebec) French books, and limited (at best) or non-existent sales outside Canada continue to be constraining factors. The necessity to include both English and French texts adds to the cost of book production in Canada. The publication of art books, and of exhibition catalogues, depends on the availability of government grants. Publications on the art of the North American Indian and Inuit peoples are an exception, attracting widespread interest and leading in some instances to co-publishing initiatives. In addition to the larger publishing houses, a number of small presses produce occasional art books, thanks to grants and in a few cases with the added benefit of sales abroad achieved through international networking. A government programme of support for Canadian publishing, launched in 1986, is continuing.

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McCarthy, Conal. "Editorial". Museum Worlds 7, n. 1 (1 luglio 2019): vii—ix. http://dx.doi.org/10.3167/armw.2019.070101.

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Museum Worlds: Advances in Research Volume 7 (2019) is an open issue, covering a rich variety of topics reflecting the range and diversity of today’s museums around the globe. This year’s volume has seven research articles, four of them dealing with very different but equally fascinating issues: contested African objects in UK museums, industrial heritage in Finland, manuscript collecting in Britain and North America, and Asian art exhibitions in New Zealand. But this issue also has a special section devoted to Barbara Kirshenblatt-Gimblett, which contains three articles and an interview.

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NICHOLS, ROGER L. "Western Attractions". Pacific Historical Review 74, n. 1 (1 febbraio 2005): 1–18. http://dx.doi.org/10.1525/phr.2005.74.1.1.

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North America,and in particular the United States, has fascinated Europeans as the place of the "exotic other " for at least the last two centuries. This article surveys American and European art, novels,radio programs, Western films, and television Westerns from the 1820s to the present. It posits that the presence of Indians, fictional Western heroes,gunmen,and a perceived general level of violence made frontier and Western America more colorful and exciting than similar circumstances and native people in other parts of the world. This resulted in a continuing interest in the fictional aspect of the American frontier and Western historical experiences.

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Sinelnyk, Alina. "Curating the international profile of contemporary Chinese ink medium art: The Third Chengdu Biennale (2007) and The Met’s Ink Art (2013–14)". Journal of Contemporary Chinese Art 9, n. 3 (1 novembre 2022): 289–312. http://dx.doi.org/10.1386/jcca_00068_1.

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This article aims to shed light on a curatorial momentum that was generated at the turn of the 2010s in the broader international art world, allowing contemporary Chinese ink works for the first time within the context of the new century to have a more geographically widespread spotlight of attention under a dual label of the Indigenous and the international. Indeed, in the run up to the 2008 Beijing Olympic Games, the curatorial approach to ink art in both China and North America and Europe began to change, emphasizing not only ink’s cultural uniqueness but also its transcultural applicability. The pioneering event to do this was the Third Chengdu Biennale in China, following which there was a noticeable escalation in similar exhibitions across countries like the United States or the United Kingdom. These ranged from the ground-breaking Ink Art: Past as Present in Contemporary China (2013–14) at New York’s Metropolitan Museum of Art (The Met) to exhibitions at international auction houses and commercial galleries, such as Christie’s or the London-based Saatchi Gallery. By focusing on the Third Chengdu Biennale and The Met’s Ink Art exhibition as the two case-study examples, this article elucidates in what specific ways present-day Chinese ink works were framed by these two significant internationally oriented exhibitions, as well as what kind of critical reception this attracted. Drawing from this analysis, the article also provides a reflection on this curatorial momentum’s both achievements and limitations, suggesting that altogether they present an important foundation for present-day curators to devise new constructive ways of positioning Chinese ink as the global contemporary medium of artistic expression.

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Tesi sul tema "Indians of North America – Art – Exhibitions"

Morrison, Ann Katherine 1929. "Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.

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In December 1927, Emily Carr's paintings were shown for the first time in central Canada in an exhibition called Canadian West Coast Art - Native and Modern. This event was held at the National Gallery of Canada in Ottawa, and marked a major turning point in Carr's career, for it brought her acceptance by the intellectual and artistic elite with their powerful networks of influence, as well as national acclaim in the public press. To this point, art historical writings have tended to focus on the artist and her own experiences, and in the process, the importance of this experimental exhibition in which her work was included has been overlooked and marginalized. This thesis attempts to redress this imbalance by examining the exhibition in detail: first, to analyze the complexities of its ideological premises and the cultural implications of juxtaposing, for the first time in Canada, aboriginal and non-native artistic production within an art gallery setting; second, to consider the roles played by the two curators, Eric Brown, Director of the National Gallery, and C. Marius Barbeau, chief ethnologist at the National Museum; and third, to indicate the ways in which Emily Carr's works and those of the other non-native artists functioned within the exhibition. During the 1920s, both the National Gallery and the National Museum were caught up in the competitive dynamic of asserting their leadership positions in the cause of Canadian nationalism and the development of a national cultural identity. In this 1927 exhibition, these issues of nationalism, self-definition and the development of a distinctly "Canadian" art permeated its organization and presentation. The appropriated aboriginal cultural material in the museum collections that had languished within storage cases was to be given a contemporary function. It was to be redeemed as "art," specifically as a "primitive" stage in the teleological development of the constructed field of "Canadian" art history. In this elision process, the curators relegated the native culture to a prehistoric and early historic past, suppressing its own parallel historical and cultural development. The exhibition also presented the native objects as an available source of decorative design motifs to be exploited by non-native artists, designers and industrial firms in their production of Canadian products, underlining the assumption of the right to control and manipulate the culture of the colonized "Other." Emily Carr"s twenty-six paintings, four hooked rugs and decorated pottery represented the largest contribution from any single artist. In their interpretations of the native culture, Carr and the other non-native artists were also engaged in a "self-other" definition, and had filtered their perceptions through the practices and conventions of western art traditions, especially in the use of modernist techniques. In the context of the exhibition, the artistic production by the fourteen non-native artists, including Carr, was caught up in a reaffirmation of the ideological and cultural positions of the two curators and the institutions they represented. The alternate discourses that could have been provided by the native people remained unheard.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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Konoske, Ashley Anderson. "The archaeology and rock art of Rock Creek, northwestern Nevada /". abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1436190.

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Thesis (M.A.)--University of Nevada, Reno, 2006.
"May, 2006." Includes bibliographical references (leaves 241-257). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2006]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

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Holm, Margaret Ann. "Prehistoric Northwest Coast art : a stylistic analysis of the archaeological record". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29932.

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This thesis is a stylistic study of the prehistoric art record from the Northwest Coast of North America. Its purpose is three-fold: to describe the spatial and temporal variation in the stylistic attributes of prehistoric art; to evaluate theories on the evolution of the Northwest Coast art tradition; and to comment on the possible factors behind variation in the prehistoric art record. This study examines stylistic attributes related to representational imagery, concentrating on five variables: decorated forms, carving techniques, design elements, design principles, and motifs. The core sample consists of anthropomorphic and zoomorphic images from dated archaeological contexts; a total of 242 artifacts from 58 sites are examined. The material is presented in chronological order corresponding to the Gulf of Georgia prehistoric cultural sequence. The major finding of this study is that by the end of the Locarno Beach phase or the beginning of the Marpole phase the essential character of the Northwest Coast art style had developed. There are new developments in the late period, but the evidence presented suggests a previously undocumented stylistic continuity from the late Locarno Beach phase to historic Coast Salish art with no decline in quality or productivity. This study indicates that, as far back as the record extends, three-dimensional, naturalistic forms and two-dimensional incising and engraving techniques have equal antiquity. From the Locarno Beach phase onward the flat, engraved style and the three-dimensional sculpture style developed together; the formline concept developed very early out of the raised, positive lines created by deep engraving in antler.
Arts, Faculty of
Anthropology, Department of
Graduate

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McLerran, Jennifer. "Inventing "Indian art" : New Deal Indian policy and the native artists as "natural" resource /". Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6226.

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Pendegraft, Signa Winona. "Ground stone and pecked rock rock art on the Pah Rah Uplands, Washoe County, Nevada /". abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447618.

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Bonine, Kathleen Anne. "Culture contact change and continuity: The Mohave Indians". CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/673.

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Hinojosa, Mary Margaret. "A venture in Native American shield making". CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-08272007-175230/.

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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /". Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2010.
Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.

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Archibald, Samantha L., e University of Lethbridge Faculty of Arts and Science. "Contested heritage : an analysis of the discourse on The spirit sings". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science , 1995, 1995. http://hdl.handle.net/10133/27.

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This thesis contributes to the knowledge of museology, anthropology and Native American studies. It is an analysis of the discourse that surrounded The Spirit Sings: Artistic Traditions of Canada's First Peoples, an exhibition prepared by the Glenbow in Calgary as the 'flagship' of the Olympic Arts Festival in 1988. After the Lubicon Indians of Northern Alberta called for a boycott of The Spirit Sings, in attempt to draw critical attention to their long outstanding lands claim, a large and heated debate ensued involving several disciplines, particularly anthropology and museology. Much of this debate took place in the print media, therefore a large body of material remains to be reviewed and studied. The intent of this thesis is to illustrate that the issue of museological representation of First Nations was one of the most central themes discussed in the discourse, but to argue that the major players dealt with this issue on only the most concrete level and therefore largely neglected to recognize that the issue of First Nation's representation was not just a concern over museum interpretation but more importantly an issue of the contested authenticity of national and cultural claims.
vi, 335 p. ; 29 cm.

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Barnd, Natchee Blu. "Inhabiting Indianness : US colonialism and indigenous geographies /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307536.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed July 23, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 214-232).

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Libri sul tema "Indians of North America – Art – Exhibitions"

Woodland Indian Cultural Educational Centre., a cura di. Indian art '89. Brantford, Ont: Woodland Cultural Centre, 1989.

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Brose, David S. Ancient art of the Woodland Indians. New York: H.N. Abrams, in association with the Detroit Institute of Arts, 1985.

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E, Boehme Sarah, e Museums West (Consortium), a cura di. Powerful images: Portrayals of Native America. Seattle: Museums West in association with the University of Washington Press, 1998.

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1942-, Cardinal-Schubert Joane, Doxtator Deborah, Pakasaar Helga e Walter Phillips Gallery, a cura di. Revisions, Joane Cardinal-Schubert, Jimmie Durham, Hachivi Edgar Heap of Birds, Zacharias Kunuk, Mike MacDonald, Alan Michelson, Edward Poitras, Pierre Sioui: Essays. Banff, Alta., Canada: Walter Phillips Gallery, 1992.

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Coe, Ralph T. Lost and found traditions: Native American art 1965-1985. Vancouver: Douglas & McIntyre in association with the American Federation of Arts, 1988.

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Kathleen, Wright Robin, e Thomas Burke Memorial Washington State Museum., a cura di. A Time of gathering: Native heritage in Washington State. Seattle: Burke Museum, 1991.

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Coe, Ralph T. Lost and found traditions: Native American art 1965-1985. Seattle: University of Washington Press, 1986.

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McCleary, Katherine Nova. Place, nations, generations, beings: 200 years of Indigenous North American art. New Haven: Yale University Art Gallery, 2019.

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Raczka, Paul M. Winold Reiss: Portraits of the races : "art has no prejudice". Great Falls, Mt: C.M. Russell Museum, 1986.

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Rousselot, Jean-Loup. Totempfahl und Potlatch: Die Indianer der kanadischen Nordpazifik-Küste. Öttingen [Germany]: Zweigmuseum des Staatlichen Museums für Völkerkunde München, 2004.

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Capitoli di libri sul tema "Indians of North America – Art – Exhibitions"

Manson, Spero m., james h. Shore, anna e. Baron, lynn ackerson, e gordon neligh. "Alcohol Abuse and Dependence Among American Indians". In Alcoholism in North America, Europe, and Asia, 113–30. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195050905.003.0008.

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Abstract Current, community-based epidemiologic studies of alcohol abuse and dependence among American Indians are nonexistent. Indeed, state-of-the-art diagnostic techniques only recently have been applied in this special population (Manson et al., 1987; Walker, Walker, & Kivlahan, 1988; Westermeyer & Neider, 1984, 1985). Reasons for this delay include long-standing concerns about the cultural factors that affect reliable measurement and diagnosis (Levy & Kunitz, 1974; Manson, Walker, & Kivlahan, 1987; Walker & Kivlahan, 1984). Difficulties in sampling and resulting limits to meaningful generalization have also slowed the advance of scientific inquiry. Our work inevitably reflects these circumstances and has addressed itself to the first order problem. Specifically, we are attempting to improve the assessment process by combining local explanatory models for dysfunction with psychiatric diagnostic criteria (Manson & Shore, 1981; Manson, Shore, & Bloom, 1985). The DIS has played a central role in this endeavor.

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de Souza, Anacleto S., Leonardo G. Ferreira e Adriano D. Andricopulo. "2D and 3D QSAR Studies on a Series of Antichagasic Fenarimol Derivatives". In Pharmaceutical Sciences, 956–77. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1762-7.ch037.

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Chagas disease is one of the most important neglected tropical diseases. Endemic in Latin America, the disease is a global public health problem, affecting several countries in North America, Europe, Asia and Oceania. The disease affects around 8-10 million people worldwide and the limited treatments available present low efficacy and severe side effects, highlighting the urgent need for new therapeutic options. In this work, the authors developed QSAR models for a series of fenarimol derivatives exhibiting anti-T. cruzi activity. The models were constructed using the Hologram QSAR (HQSAR), Comparative Molecular Field Analysis (CoMFA) and Comparative Molecular Similarity Indices Analysis (CoMSIA) methods. The QSAR models presented substantial predictive ability for a series of test set compounds (HQSAR, r2pred = 0.66; CoMFA, r2pred = 0.82; and CoMSIA, r2pred = 0.76), and were valuable to identify key structural features related to the observed trypanocidal activity. The results reported herein are useful for the design of novel derivatives having improved antichagasic properties.

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Wigginton, Caroline. "Translation". In Indigenuity, 81–120. University of North Carolina PressChapel Hill, NC, 2022. http://dx.doi.org/10.5149/northcarolina/9781469670379.003.0004.

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Abstract “Translation” attends to the microecologies of light, plant life, and land- and waterscape that underpinned Indigenous conceptions of color and place in the southeastern region of North America. The chapter bring James Adair’s The History of the American Indians (1775) alongside French manuscript travel accounts to argue that colonists documenting this connection between place and color leveraged their newfound knowledge to displace Native nations in the Southeast. Then, turning to Choctaw and Chickasaw vocabularies, “Translation” demonstrates how these same nations created new relationships to place through color after forced removal. Chapter 3 concludes by turning to the poetry of Linda Hogan (Chickasaw) and Phillip Carroll Morgan (Choctaw and Chickasaw) and the film and sculptural art of Jeffrey Gibson (Mississippi Band of Choctaw Indians, Cherokee) to illuminate how color persists as a decolonial archive.

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