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| lawrence paul yuxweluptun prints: Indigena Canadian Museum of Civilization, 1992 Catalogue of an exhibition 'Indigena' at the Canadian Museum of Civilization, Ottawa, including portfolios of eighteen Indian and Inuit artists and six essays on the viewpoints of aboriginal peoples on historical and social themes. |
| lawrence paul yuxweluptun prints: The Trickster Shift Allan J. Ryan, 1999 The influence and power of the Trickster figure -- often embodied as Coyote -- is deeply entwined with Native cultural sensibility and expressed through wry, ironic humour. In this entertaining and innovative book, Allan Ryan explores the Trickster's presence in the work of outstanding artists such as Carl Beam, Rebecca Belmore, Bob Boyer, Joane Cardinal-Schubert, George Littlechild, Jim Logan, Gerald McMaster, Shelley Niro, Ron Noganosh, Jane Ash Poitras, Edward Poitras, Bill Powless, and Lawrence Paul Yuxweluptun. |
| lawrence paul yuxweluptun prints: Art for a New Understanding Mindy N. Besaw, Candice Hopkins, Manuela Well-Off-Man, 2018-10-01 Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large. |
| lawrence paul yuxweluptun prints: Art of the Northwest Coast Aldona Jonaitis, 2006 The upheavals of how European contact affected the development of a powerful traditional art are examined in this comprehensive survey of the Native arts of the Pacific Northwest Coast. |
| lawrence paul yuxweluptun prints: Beyond Wilderness John O'Brian, 2007-09-30 The great purpose of landscape art is to make us at home in our own country was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In this book, John O'Brian and Peter White pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked beyond wilderness to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montreal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trepanier (Quebec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York). |
| lawrence paul yuxweluptun prints: Decolonizing "prehistory" Gesa Mackenthun, Christen Mucher, 2021-05-04 Decolonizing Prehistorycritically examines and challenges the paradoxical role that modern historical-archaeological scholarship plays in adding legitimacy to, but also delegitimizing, contemporary colonialist practices. Using an interdisciplinary approach, this volume empowers Indigenous voices and offers a nuanced understanding of the American deep past. |
| lawrence paul yuxweluptun prints: Memories of Our Future Ammiel Alcalay, 1999-12 This text features essays from Ammiel Alcalay covering Mediterranean culture, Arabic literature, the war in Bosnia, the Israeli/Palestinian conflict, the destruction of Carthage, and much more. |
| lawrence paul yuxweluptun prints: After Jews and Arabs Ammiel Alcalay, 1993 |
| lawrence paul yuxweluptun prints: Builders National Gallery of Canada, Heather Marie Anderson, Jonathan Shaughnessy, 2012 Builders: Canadian Biennial 2012 is the National Gallery of Canada's second exhibition of new Canadian art acquired over the past two years, and features over 100 paintings, sculptures, drawings, videos and multimedia installations created by more than forty artists. In placing emergent practices alongside long-established Canadian artists who have been instrumental in building a context for Canadian art today, Builders offers the opportunity to appreciate the range of aesthetic accomplishment in this country.--Publisher description. |
| lawrence paul yuxweluptun prints: Book of Imaginary Media Eric Kluitenberg, 2006 Have you ever wondered if one day Windows 2028 might just know what you're thinking and type it? In this collection of essays, a selection of today's top media and sci-fi theorists weigh in. The Book of Imaginary Media explores the persistent idea that technology may one day succeed where no human has, not only in space or in nature, but also in interpersonal communication. Building on insights from media archeology, Siegfried Zielinski, Bruce Sterling, Erkki Huhtamo and Timothy Druckrey spin a web of associations between the fantasy machines of Athanasius Kircher, the mania of stereoscopy and dead media. Edwin Carels and Zoe Beloff descend into the cinematographic caverns of spiritualism and the iconography of death, and renowned cartoonists including Ben Katchor depict their own visionary media fantasies. On the enclosd DVD, artist Peter Blegvad provides hilarious commentary in a son et lumière version of his On Imaginary Media. |
| lawrence paul yuxweluptun prints: Critical Digital Studies Arthur Kroker, Marilouise Kroker, 2013-12-11 Since its initial publication, Critical Digital Studies has proven an indispensable guide to understanding digitally mediated culture. Bringing together the leading scholars in this growing field, internationally renowned scholars Arthur and Marilouise Kroker present an innovative and interdisciplinary survey of the relationship between humanity and technology. The reader offers a study of our digital future, a means of understanding the world with new analytic tools and means of communication that are defining the twenty-first century. The second edition includes new essays on the impact of social networking technologies and new media. A new section – “New Digital Media” – presents important, new articles on topics including hacktivism in the age of digital power and the relationship between gaming and capitalism. The extraordinary range and depth of the first edition has been maintained in this new edition. Critical Digital Studies will continue to provide the leading edge to readers wanting to understand the complex intersection of digital culture and human knowledge. |
| lawrence paul yuxweluptun prints: Haida Monumental Art George F. MacDonald, 1994 The Haida of the Queen Charlotte Islands in British Columbia constructed some of the most magnificent houses and erected some of the most beautifully carved totem poles on the Northwest Coast. During the last quarter of the nineteenth century, images of the Haida's immense cedar houses and soaring totem poles were captured, first on glass plates and later on film, by photographers who travelled to then-remote villages such as Masset and Skidegate to marvel at, and record, what they saw there. Haida Monumental Art, initially published as a limited edition hardcover and finally available in paperback, includes a large number of these remarkable photographs, selected from a collection of over 10,000 original prints and photographic plates. They depict the Haida villages at the height of their glory and record their tragic deterioration only a few decades later. As well, this edition contains the complete text from the first edition, including site plans and detailed descriptions of fifteen major villages and several smaller sites, which are catalogued by house and pole. By combining archaeology and ethnohistory, George MacDonald presents an integrated framework for understanding the physical structure of a Haida village. He explains how the houses and poles are part of a fascinating web of myth, family history, and Haida cosmology, which provides a unique insight into Haida culture.--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
| lawrence paul yuxweluptun prints: Landscape into Eco Art Mark Cheetham, 2018-02-14 Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting. Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet. An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating. |
| lawrence paul yuxweluptun prints: Iljuwas Bill Reid Gerald McMaster, 2020 The life and work of Canadian artist Bill Reid-- |
| lawrence paul yuxweluptun prints: The Studio Jens Hoffmann, 2012-03-02 The evolution of studio—and “post-studio”—practice over the last half century. With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of “post-studio practice.” But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio—and “post-studio”—practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer—mobile, flexible, and ready to follow the next commission. Among the topics surveyed here are the changing portrayal and experience of the artist's role since 1960; the diversity of current studio and post-studio practice; the critical strategies of artists who have used the studio situation as the subject or point of origin for their work; the insights to be gained from archival studio projects; and the expanded field of production that arises from responding to new conditions in the world outside the studio. The essays and artists' statements in this volume explore these questions with a focus on examining the studio's transition from a workshop for physical production to a space with potential for multiple forms of creation and participation. |
| lawrence paul yuxweluptun prints: Visions of British Columbia Bruce Grenville, Scott Steedman, 2010 Quintessential British Columbia revealed through the eyes of its greatest artists and writers. Visions of British Columbia took as its starting point a major exhibition at the Vancouver Art Galley, opening to coincide with the 2010 Winter Games. The show focused on the work of more than twenty remarkable artists, including the Haida masters Bill Reid and Robert Davidson; Kwakwaka'wakw carver Willie Seaweed; modernist painters Emily Carr and Group of Seven member Frederick Varley; mentors and pioneers Jack Shadbolt and B.C. Binning; abstract painter Gordon Smith; photoconceptualists Ian Wallace and Jeff Wall; Salish artist Susan Point, Haida-Manga artist Michael Nicoll Yahgulanaas and Korean-Canadian Jin-me Yoon. Allied to the art is writing about B.C. from acclaimed authors as diverse as Douglas Coupland, Timothy Taylor, Ethel Wilson, Audrey Thomas and Wayson Choy. Malcolm Lowry's poem Happiness echoes B.C. Binning's colourful seascapes; Daphne Marlatt's reflections on overfishing parallel Susan Point's salmon sculpture. Both text and art speak to the diverse visions of this place, its peoples and its histories. This book was published in partnership with the Vancouver Art Gallery. |
| lawrence paul yuxweluptun prints: Looking Beyond Borderlines Lee Rodney, 2016-12-19 American territorial borders have undergone significant and unparalleled changes in the last decade. They serve as a powerful and emotionally charged locus for American national identity that correlates with the historical idea of the frontier. But the concept of the frontier, so central to American identity throughout modern history, has all but disappeared in contemporary representation while the border has served to uncomfortably fill the void left in the spatial imagination of American culture. This book focuses on the shifting relationship between borders and frontiers in North America, specifically the ways in which they have been imaged and imagined since their formation in the 19th century and how tropes of visuality are central to their production and meaning. Rodney links ongoing discussions in political geography and visual culture in new ways to demonstrate how contemporary American borders exhibit security as a display strategy that is resisted and undermined through a variety of cultural practices. |
| lawrence paul yuxweluptun prints: Don't Let the Sun Step Over You Eva Tulene Watt, 2004-09 When the Apache wars ended in the late nineteenth century, a harsh and harrowing time began for the Western Apache people. Living under the authority of nervous Indian agents, pitiless government-school officials, and menacing mounted police, they knew that resistance to American authority would be foolish. But some Apache families did resist in the most basic way they could: they resolved to endure. Although Apache history has inspired numerous works by non-Indian authors, Apache people themselves have been reluctant to comment at length on their own past. Eva Tulene Watt, born in 1913, now shares the story of her family from the time of the Apache wars to the modern era. Her narrative presents a view of history that differs fundamentally from conventional approaches, which have almost nothing to say about the daily lives of Apache men and women, their values and social practices, and the singular abilities that enabled them to survive. In a voice that is spare, factual, and unflinchingly direct, Mrs. Watt reveals how the Western Apaches carried on in the face of poverty, hardship, and disease. Her interpretation of her peopleÕs past is a diverse assemblage of recounted events, biographical sketches, and cultural descriptions that bring to life a vanished time and the men and women who lived it to the fullest. We share her and her familyÕs travels and troubles. We learn how the Apache people struggled daily to find work, shelter, food, health, laughter, solace, and everything else that people in any community seek. Richly illustrated with more than 50 photographs, DonÕt Let the Sun Step Over You is a rare and remarkable book that affords a view of the past that few have seen beforeÑa wholly Apache view, unsettling yet uplifting, which weighs upon the mind and educates the heart. |
| lawrence paul yuxweluptun prints: Whitewalling Aruna D'Souza, 2018 In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three acts in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak? Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader. |
| lawrence paul yuxweluptun prints: Indigena Awry Annharte, 2012-11-30 NDN word warrior Marie Annharte Baker's fourth book of poems, Indigena Awry, is her largest and wildest yet. It collects a decade's worth of verse — fifty-nine poems. Set noticeably in Winnipeg and Vancouver, but in many other places on either side of the Medicine Line as well, the poems are a laser-eyed meander through contested streets filled with racism, classism, and sexism. Shot through with sex and violence and struggle and sadness and trauma, her work is always set to detect and confront the delusions of colonialism and its discontents. These poems are informed by a sceptical spirituality. They call for justice for NDNs through the Permanent Resistance that goes around in cities. This is bruising and exacting stuff, but Annharte is also one of poetry's best jokers. In Indigena Awry, you can find fictitious girl gangs coexisting with real boy ones. NDN grannies may be found flirting salaciously in some internet chat room. One might use duct tape to prevent a war. You might be worried that hand-signalling for a Timbit on an airplane flight will be considered a terrorist act. Annharte may be seam-walking a singular path but she is not without allies. In the United States, they could include Leslie Marmon Silko and Chrystos. In Canada, Beth Brant and Gerry Gilbert. The jazz inflections of Beat writing are often apparent in her work. She swings from a poetic madness into a mad poetics. Way under it all, acting as a deep sort of platform, could be considered the Kenyan writer Ngugi wa Thiong'o's project of decolonizing one's mind. Both sketch out an argument that we will not see, feel, or respond correctly in or to our own lives without doing this, because otherwise we will be living within a philosophical myopia generated by a bad fiction. While Indigena Awry is written for NDN persons, it is highly recommended for truth-seekers of every nature and anarchs of word and spirit. In an Annharte poem you might lose your way only to find what's important. |
| lawrence paul yuxweluptun prints: The Changing Nature of Eco/Feminism Niamh Moore, 2015-04-15 In the summer of 1993, activists set up a peace camp blocking a logging road into an extensive area of temperate rainforest in Clayoquot Sound that was slated for clear-cutting. Twenty-odd years later, Clayoquot holds a prominent place in environmental discourse, yet it is not generally associated with feminist or eco/feminist movements. The Changing Nature of Eco/Feminism argues that Clayoquot offers a potent site for examining a whole range of feminist issues. Through a careful study of eco/feminist activism against clear-cut logging practices in British Columbia, the book explores how a transnational eco/feminist practice insisted on an account of logging situated in histories of colonialism, holding the Canadian state to account for its deforestation practices. Moore demonstrates that the sheer vitality of eco/feminist politics at the Peace Camp in the summer of 1993 confounded dominant narratives of contemporary feminism and has re-imagined eco/feminist politics for new times. |
| lawrence paul yuxweluptun prints: Immersed in Technology Banff Centre for the Arts, 1996 Produced as part of the Art and Virtual Environment Project conducted at the Banff Centre for the Arts in Banff, Canada from 1991 to 1994. |
| lawrence paul yuxweluptun prints: How Canadians Communicate IV David Taras, Christopher Robb Waddell, 2012 A comprehensive, up to date, and probing examination of media and politics in Canada. |
| lawrence paul yuxweluptun prints: Balance John K. Grande, 2004 Believing that artistic expression can and does play an important role in changing the way we perceive our relation to the world we live in, art critic John Grande takes an in-depth look at the work of some very unusual environmental artists in the United States, Canada, and -Europe. Dealing with everything from materials to the politics of curatorship, from the permanence of art works to the artist's role as cultural critic, Balance Art and Nature takes theory into action as it critically examines the works of Anish Kapoor, Antony Gormley, Armand Vaillancourt, Bill Reid, Carl Beam, Kevin Kelly, Ana Mendieta, James Carl, Patrick Dougherty, Keith Haring, and others. What emerges is a viable socio-environmental framework for evaluating contemporary art and insights into art's actual and potential roles. Grande's commentaries represent an important contribution to the theory of art.--Claude Levi-Strauss A call to reawaken creativity in this time of alienation.--Antony Gormley Encourages us to rethink what it means to be an artist in a time of global eco-crisis.--Suzi Gablik, The Re-enchantment of Art Makes unexpected connections giving new insights into contemporary art.--Public Art Review Grande's book contains a lot of ideas, all of which are thought-provoking.--Globe and Mail Details makes this book convincing.--Books In Canada Grande's ideas and style are fresh, sincere, intuitive, lively and compelling.--Journal of Comparative Literature and Aesthetics Offers interesting parallels between different aspects of public art.--Espace Sculptur Writer and art critic John Grande's reviews and feature -articles have been published in art magazines and catalogues internationally. He is author of Intertwining: Landscape, Technology, Issues, Artists (Black Rose Books), Nils-Udo: Art with Nature (Wienand Verlag), and Art Nature Dialogues (SUNY Press). Library of Congress subject headings for this publication: Creation (Literary, artistic, etc.) Art, Modern -- 20th century. Nature (Aesthetics) |
| lawrence paul yuxweluptun prints: Native American Art in the Twentieth Century W. Jackson Rushing III, 2013-09-27 This illuminating and provocative book is the first anthology devoted to Twentieth Century Native American and First Nation art. Native American Art brings together anthropologists, art historians, curators, critics and distinguished Native artists to discuss pottery, painitng, sculpture, printmaking, photography and performance art by some of the most celebrated Native American and Canadian First Nation artists of our time The contributors use new theoretical and critical approaches to address key issues for Native American art, including symbolism and spirituality, the role of patronage and musuem practices, the politics of art criticism and the aesthetic power of indigenous knowledge. The artist contributors, who represent several Native nations - including Cherokee, Lakota, Plains Cree, and those of the PLateau country - emphasise the importance of traditional stories, myhtologies and ceremonies in the production of comtemporary art. Within great poignancy, thye write about recent art in terms of home, homeland and aboriginal sovereignty Tracing the continued resistance of Native artists to dominant orthodoxies of the art market and art history, Native American Art in the Twentieth Century argues forcefully for Native art's place in modern art history. |
| lawrence paul yuxweluptun prints: "Neither Wit Nor Gold" (from Then) Ammiel Alcalay, 2011 A personal investigation by the author into the relationships of context to text, memory to nostalgia, and present attention to the multiple traces of the past. |
| lawrence paul yuxweluptun prints: Shore, Forest and Beyond Vancouver Art Gallery, 2011 A stunning and diverse collection of artworks from the personal collection of one of Canada's premier art patrons. Gifts from private art collectors have played a vital role in building and expanding the Vancouver Art Gallery's collection. Shore, Forest and Beyond is an exhibition of 100 works gathered from the collection assembled by Michael Audain. The exhibition and this accompanying publication highlight the breadth of the collection, which includes: mid-19-century masks by Haida, Nuxalk, Salish, Tlingit and Tsimshian carvers contemporary First Nations works by Robert Davidson, Brian Jungen and Marianne Nicolson paintings by British Columbia artists Emily Carr, B.C. Binning and E.J. Hughes and contemporary works by Roy Arden, Jeff Wall, Attila Richard Lukacs, Angela Grossman and Takao Tanabe Mexican modernist works by Diego Rivera and Rufino Tamayo Exhibition dates October 29, 2011 - January 29, 2012 Vancouver Art Gallery This book was published in partnership with the Vancouver Art Gallery. |
| lawrence paul yuxweluptun prints: Faces in the Forest Michael D. Blackstock, 2001-11-16 In Faces in the Forest Michael Blackstock, a forester and an artist, takes us into the sacred forest, revealing the mysteries of carvings, paintings, and writings done on living trees by First Nations people. Blackstock details this rare art form through oral histories related by the Elders, blending spiritual and academic perspectives on Native art, cultural geography, and traditional ecological knowledge. Faces in the Forest begins with a review of First Nations cosmology and the historical references to tree art. Blackstock then takes us on a metaphorical journey along the remnants of trading and trapping trails to tree art sites in the Gitxsan, Nisga'a, Tlingit, Carrier, and Dene traditional territories, before concluding with reflections on the function and meaning of tree art, its role within First Nations cosmology, and the need for greater respect for all of our natural resources. This fascinating study of a haunting and little-known cultural phenomenon helps us to see our forests with new eyes. |
| lawrence paul yuxweluptun prints: On Aboriginal representation in the Gallery Lydia Jessup, Shannon Bagg, 2002-01-01 In recognizing the established intellectual and institutional authority of Aboriginal artists, curators, and academics working in cultural institutions and universities, this volume serves as an important primer on key questions and issues accompanying the changing representational practices of the community cultural center, the public art gallery and the anthropological museum. Published in English. |
| lawrence paul yuxweluptun prints: The Responsive Eye Ralph T. Coe, 2003 Over the past three decades, Ralph T. Coe has traveled extensively throughout the United States and Canada to assemble this collection of Native American art, one of the finest in private hands today. Immersed in the cultures of Native America, he has come to know artists and artisans, traders, dealers, and shop proprietors, selecting the very best they have to offer. The Ralph T. Coe Collection includes representative pieces from most Native American geographic regions and historical periods, beginning with objects dating back to the fourth millennium B.C. Many examples-men's shirts with ermine fringe, weapons, and button blankets-evoke the heroic lifestyle of the past, while small objects, such as tipi and kayak models, dolls, and tiny moccasins, speak to a more intimate significance. Ritual objects imbued with spiritual meaning-masks and katsinas, tablitas and medicine bundles-as well as utilitarian objects, such as pottery and baskets, also have a strong presence. This catalogue tells the stories of nearly two hundred of these objects, combining art history with personal reminiscence, and reveals the role Coe has played in bringing about awareness of the artistic heritage of Native America.-- Metropolitan Museum of Art website. |
| lawrence paul yuxweluptun prints: The Anthropology of Art Howard Morphy, Morgan Perkins, 2009-02-04 This anthology provides a single-volume overview of the essential theoretical debates in the anthropology of art. Drawing together significant work in the field from the second half of the twentieth century, it enables readers to appreciate the art of different cultures at different times. Advances a cross-cultural concept of art that moves beyond traditional distinctions between Western and non-Western art. Provides the basis for the appreciation of art of different cultures and times. Enhances readers’ appreciation of the aesthetics of art and of the important role it plays in human society. |
| lawrence paul yuxweluptun prints: It is what it is National Gallery of Canada, Andrea Kunard, Greg A. Hill, Josée Drouin-Brisebois, Heather Marie Anderson, 2010 |
| lawrence paul yuxweluptun prints: Art and Future Peter Stupples, Jane Venis, 2018-04-18 This selection of essays examines the future of art in a changing world. In particular, contributors discuss the agency of art in conditions of ecological threats to the natural world, to climate change and the effects of globalisation, neoliberal economics and mass tourism. Following the lead of Chicago-based Frances Whitehead, whose essay is a key text, some contributors take positions on working with local government agencies to embed art-thinking within development projects, going back to the art-thinking at the centre of Kazimir Malevich’s work in Vitebsk one hundred years ago in Russia. Other papers highlight small-scale art interventions that bring ecological issues to public notice and suggest positive responses, whilst others discuss large-scale problems brought about by the social, economic and laissez-faire history of the emerging Anthropocene with possible dystopic outcomes. |
| lawrence paul yuxweluptun prints: Privileging the Past Judith Ostrowitz, 1999 Ostrowitz is an art historian and an artist who lives in New York, is affiliated with Yale University, and is a former assistant curator at the Brooklyn Museum of Art. Here she presents a thorough, scholarly exploration of the complex issues of authenticity, tradition, and creative translation-carefully considering Northwest Coast dances, ceremonies, masks, painted screens, and houses, and drawing on an extensive body of interviews with tribal leaders, artists, and artisans known and respected in both Native and non-Native venues. Copyright © Libri GmbH. All rights reserved. |
| lawrence paul yuxweluptun prints: The Intemperate Rainforest Bruce Braun, 2002 Braun (geography, U. of Minnesota) provides a new viewpoint on the complex cultural, political, and intellectual forces involved in the forest policies of British Columbia. Employing poststructuralist theory and using the 1993 protests over logging in Clayoquot Sound as his starting point, Braun assesses the colonial thinking behind 19th- century forest policies, the struggles of native peoples to regain their spaces, the assertion of so-called rational forest management as a new version of colonialism, the Western Canada Wilderness Committee's use of nature photography to promote their notion of pristine wilderness, ecotourism, and the continued impact of the vision of early 20th-century painter Emily Carr. Annotation c. Book News, Inc., Portland, OR (booknews.com) |
| lawrence paul yuxweluptun prints: Virtual Realism Michael Heim, 2000-04-13 Virtual reality has introduced what is literally a new dimension of reality to daily life. But it is not without controversy. Indeed, some say that a collision is inevitable between those passionately involved in the computer industry and those increasingly alienated from (and often replaced by) its applications. Opinions range from the cyberpunk attitude of Wired magazine and Bill Gates's commercial optimism to the violent opposition of the Unabomber. Now, with Virtual Realism, readers have a thought-provoking guide to the cyberspace backlash debate and the implications of cyberspace for our culture. Michael Heim offers a comprehensive introduction to virtual reality and a provocative commentary on its present and future impact on our lives. Heim describes the fascinating and important industrial and military uses of virtual reality, as well as its artistic and entertainment applications. He argues that we must balance the idealist's enthusiasm for computerized life with the need to ground ourselves more deeply in primary reality. This uneasy balance he calls virtual realism. |
| lawrence paul yuxweluptun prints: Another World: The Transcendental Painting Group Michael Duncan, 2021-07-06 Abstract painting meets theosophical spirituality in 1930s New Mexico: the first book on a radical, astonishingly prescient episode in American modernism Founded in Santa Fe and Taos, New Mexico, in 1938, at a time when social realism reigned in American art, the Transcendental Painting Group (TPG) sought to promote abstract art that pursued enlightenment and spiritual illumination. The nine original members of the Transcendental Painting Group were Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond Jonson, William Lumpkins, Florence Miller Pierce, Agnes Pelton, Horace Towner Pierce and Stuart Walker. They were later joined by Ed Garman. Despite the quality of their works, these Southwest artists have been neglected in most surveys of American art, their paintings rarely exhibited outside of New Mexico. Faced with the double disadvantage of being an openly spiritual movement from the wrong side of the Mississippi, the TPG has remained a secret mostly known only to cognoscenti. Another World: The Transcendental Painting Group aims to address this slight, claiming the group's artists as crucial contributors to an alternative through-line in 20th-century abstraction, one with renewed relevance today. This volume provides a broad perspective on the group's work, positioning it within the history of modern painting and 20th-century American art. Essays examine the TPG in light of their international artistic peers; their involvement with esoteric thought and Theosophy; the group's sources in the culture and landscape of the American Southwest; and the experience of its two female members. |
| lawrence paul yuxweluptun prints: Excluded Ancestors, Inventible Traditions Richard Handler, 2000-11-16 Excluded Ancestors focuses on little-known scholars who contributed significantly to the anthropological work of their time, but whose work has since been marginalized due to categorical boundaries of race, class, gender, citizenship, institutional and disciplinary affiliation, and English-language proficiency. The essays in Excluded Ancestors illustrate varied processes of inclusion and exclusion in the history of anthropology, examining the careers of John William Jackson, the members of the Hampton Folk-Lore Society, Charlotte Gower Chapman, Lucie Varga, Marius Barbeau, and Sol Tax. A final essay analyzes notions of the canon and considers the place of a classic ethnographic area, highland New Guinea, in anthropological canon-formation. Contributors include Peter Pels, Lee Baker, Frances Slaney, Maria Lepowsky, George Stocking, Ronald Stade, and Douglas Dalton. |
| lawrence paul yuxweluptun prints: Making Native Space Cole Harris, 2002 Cole Harris analyses the impact of reserves on Native lives and livelihoods and considers how, in the light of this, the Native land question might be resolved. The account begins in the colonial office in the 1830s and then follows Native land policy to the formal transfer of reserves in 1938. |
| lawrence paul yuxweluptun prints: Locus Solus Julian Stallabrass, Pauline Van Mourik Broekman, Niru Ratnam, 2000 Locus Solus borrows its title from a book by Raymond Roussel, first published in 1914, which presented astounding premonitions of future capabilites. In Roussel's book a brilliant (but perhaps deranged) scientist pursues fantastical technological quests, which included the re-animation of the dead and the automated production of art works. Influenced by questions raised by this book, this volume combines the work of artists in the Locus+ initiative, all of whom have exhibited internationally, and amongst whom are Cathy de Monchaux, Stefan Gec, Gregory Green and Mark Wallinger. The sections site, identity' and technology respectively deal with the power within boundaries and the subsequent specificity of site, identity and its demarcation, and the crossing of borders by technology and its mutations. |
Lawrence the Band
Official website of Lawrence the Band. Lawrence is from New York City, and play mostly soul-pop music with some hints of funk, R&B, and rock and roll.
Lawrence (band) - Wikipedia
Lawrence is a US-based pop-soul group founded by Clyde and Gracie Lawrence, a sibling duo who grew up in New York City. They have been singing, performing, and writing songs …
Lawrence - YouTube
Lawrence is an eight-piece soul-pop band comprised of musician friends from childhood and college, led by brother-sister duo Clyde and Gracie Lawrence. The band has gained...
Lawrence Tickets, 2025 Concert Tour Dates - Ticketmaster
Mar 6, 2025 · Buy Lawrence tickets from the official Ticketmaster.com site. Find Lawrence tour schedule, concert details, reviews and photos.
Lawrence City Commission to weigh in on proposed 5-year ...
6 hours ago · The Lawrence Times is a Lawrence, Kansas owned and operated publication covering key news and providing important information for the Lawrence and Douglas County, …
News, Sports, Jobs - Lawrence Journal-World: news ...
4 days ago · Lawrence graduation rates rise, but district leaders highlight gaps for Native American and English learner students Despite a rise in graduation rates, Lawrence school …
Lawrence - YouTube Music
After years of playing together, they officially created Lawrence, an eight-piece soul-pop band comprised of musician friends from childhood and college. The band has since gained a …
Lawrence the Band
Official website of Lawrence the Band. Lawrence is from New York City, and play mostly soul-pop music with some hints of funk, R&B, and rock and roll.
Lawrence (band) - Wikipedia
Lawrence is a US-based pop-soul group founded by Clyde and Gracie Lawrence, a sibling duo who grew up in New York City. They have been singing, performing, and writing songs together …
Lawrence - YouTube
Lawrence is an eight-piece soul-pop band comprised of musician friends from childhood and college, led by brother-sister duo Clyde and Gracie Lawrence. The band has gained...
Lawrence Tickets, 2025 Concert Tour Dates - Ticketmaster
Mar 6, 2025 · Buy Lawrence tickets from the official Ticketmaster.com site. Find Lawrence tour schedule, concert details, reviews and photos.
Lawrence City Commission to weigh in on proposed 5-year ...
6 hours ago · The Lawrence Times is a Lawrence, Kansas owned and operated publication covering key news and providing important information for the Lawrence and Douglas County, …
News, Sports, Jobs - Lawrence Journal-World: news ...
4 days ago · Lawrence graduation rates rise, but district leaders highlight gaps for Native American and English learner students Despite a rise in graduation rates, Lawrence school …
Lawrence - YouTube Music
After years of playing together, they officially created Lawrence, an eight-piece soul-pop band comprised of musician friends from childhood and college. The band has since gained a …
