Phillip Earenfight - Academia.edu (original) (raw)
Papers by Phillip Earenfight
Joyce Kozloff: Co-Ordinatesconsiders the New York-based artist's paintings and works on ... more Joyce Kozloff: Co-Ordinatesconsiders the New York-based artist's paintings and works on paper--which employ the formal structure and conventions of cartography to examine issues of power, gender and global politics--from the late 1990s to the present. This is the first ...
Presses universitaires du Midi eBooks, 2008
L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieu... more L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieurs manières. L’une des méthodes les plus anciennes et les mieux établies consiste à imposer un système de classification à un ensemble donné d’objets, puis d’organiser l’exposition à partir de celui-ci, souvent grâce à un classement chronologique. En disposant ainsi les objets exposés, les conservateurs renforcent les théories académiques qui les guident et « prouvent » la justesse de la thèse qui..
CAA.reviews, Jun 16, 2010
Historical Methods Seminar at Dickinson College. The annual seminar is designed to introduce stud... more Historical Methods Seminar at Dickinson College. The annual seminar is designed to introduce students to the practice of preparing an exhibition and catalogue. Working with objects drawn from three separate collections, members of the seminar organized the material into major themes and prepared the following thematic essays and exhibition didactics. Their research and planning have been supported by a variety of gifted and dedicated college and museum professionals. The members of the seminar would like to join me in thanking members of the Cumberland County Historical Society in Carlisle for loaning a number of important works to the exhibition and for providing access to their invaluable resources related to the Carlisle Indian School. In particular, we would like to thank its director, Linda Witmer, and curators, Wayne E. Mott and Richard Tritt, for meeting our every request with professionalism and enthusiasm. We thank Lonna Malmsheimer from the Department of American Studies at Dickinson College and Barbara Landis from the Cumberland County Historical Society for sharing with us their extensive knowledge of the history of the Carlisle Indian School. At Dickinson College, we thank the staff at Waidner-Spahr Library, particularly Jane Schroeder and Jim Gerencser of Archives and Special Collections, for allowing The Trout Gallery to borrow its collection of Carlisle Indian School photographs and for providing access to the library's important primary and secondary resources. We also thank Christine Bombaro for making her research services available to members of the seminar. Special gratitude is due to Kim Nichols and Pat Pohlman in the office of publications for their skillful design of this catalogue and seeing it through production under the challenging deadlines posed by the project. We thank Pierce Bounds for providing photographs for the catalogue and Heidi Hormel for making this exhibition known to a wider audience. We also thank members of the Department of Art and Art History, particularly Sharon Hirsh and Melinda Schlitt, for creating and developing the concept for the methods seminar and for providing much appreciated support and assistance. Finally, thanks is due to members of The Trout Gallery who helped make this exhibition possible. Stephanie Keifer, the museum's administrative assistant, copy edited the final catalogue and provided essential organizational services. James Bowman prepared the objects and worked with members of the seminar to design and install the exhibition. Wendy Pires and Dottie Reed organized and promoted the various outreach programs to area schools and community centers. Sylvia Kauffman, Rosalie Lehman, and Sue Curzi assisted with the outreach programs and provided essential visitor services. This exhibition raises a number of challenging issues. We hope that we have been faithful to the lives and memories of those who played a part in the Carlisle Indian School during its thirty-nine year history.
In One Hundred Summers, Candace Greene examines a recently discovered bundle of heavily worn Kiow... more In One Hundred Summers, Candace Greene examines a recently discovered bundle of heavily worn Kiowa calendar drawings by one of the great Kiowa calendar keepers, Silver Horn, now in the collections of the Sam Noble Oklahoma Museum of Natural History (SNOMNH). The loose drawings, once bound in a ledger book, document events from 1828 to 1929, a period that brought unprecedented change to the Kiowas. Greene opens her study with an introduction to the Kiowa calendar tradition, followed by two shorter chapters dealing specifically with Silver Horn’s calendar at the SNOMNH. Chapter 4 presents the 64 surviving sheets that once formed the ledger book. Since almost all of the calendar versos are blank, only the drawings on the rectos are reproduced. The sheets measure 6”x15” and have been reproduced 50% of their original size and oriented top to bottom in order to provide the largest images possible within the book’s dimensions. The drawings are reproduced on the book’s versos with correspon...
Imprisoned Art adds to its author\u27s growing list of impressive publications that consider the ... more Imprisoned Art adds to its author\u27s growing list of impressive publications that consider the so-called ledger drawings created by Plains Indian warriors incarcerated, as prisoners of the Southern Plains wars, at Fort Marion in St. Augustine, Florida, between 1875 and 1879. It focuses on what were once two fully intact books of drawings, one by Zotom (Kiowa), the other by Howling Wolf (Cheyenne). Treated earlier in Dorothy Dunn\u27s 1877: Plains Indian Sketch Books of Zo-Tom and Howling Wolf (1969), and, with respect to Howling Wolf, in Szabo\u27s Howling Wolf and the History of Ledger Art (1994), the books receive here a comprehensive analysis that considers not only the artists and their drawings, but, most significantly, their patron
Confraternitas
This dissertation considers the art and architecture of the residence and loggia of the Compagnia... more This dissertation considers the art and architecture of the residence and loggia of the Compagnia di Santa Maria della Misericordia. The Misericordia was one of the largest charitable confraternities in late medieval Florence. It was located on the Piazza San Giovanni, near the Baptistry, Campanile, and Duomo, in the
![Research paper thumbnail of “CIVITAS FLORENTI[A]E”: The New Jerusalem, and the Allegory of Divine Misericordia](https://attachments.academia-assets.com/114273566/thumbnails/1.jpg)
](A Scarlet Renaissance: Essays in Honor of Sarah Blake McHam, 2013
Migrations, mémoires, musées, 2008
L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieu... more L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieurs manières. L’une des méthodes les plus anciennes et les mieux établies consiste à imposer un système de classification à un ensemble donné d’objets, puis d’organiser l’exposition à partir de celui-ci, souvent grâce à un classement chronologique. En disposant ainsi les objets exposés, les conservateurs renforcent les théories académiques qui les guident et « prouvent » la justesse de la thèse qui..
Migrations et immigration au musee. Le mouvement est international. Car ce nouveau sujet d'ex... more Migrations et immigration au musee. Le mouvement est international. Car ce nouveau sujet d'exposition recouvre de nouveaux questionnements autour de l'identite collective des societes contemporaines. Aux Etats-Unis, au Canada, en Australie ou en France, comment des institutions specifiques abordent-elles l'histoire de l'immigration ? Comment la rattachent-elles au fait national ? Quel discours d'inclusion tissent-elles ? Quel imaginaire social les traverse ? Rencontrant les memoires des migrants, la museographie devient moyen de reconnaissance, vecteur de visibilite. Musee receptacle d'une communaute ethnique. Musee virtuel documentant en ligne le passe d'une ville d'immigrants. Politique d'exposition sur la diversite des memoires a l'echelle d'un espace regional... Autant d'experiences mises ici en perspective par des universitaires et des conservateurs francais et etrangers. Mais ces themes n'emergent pas sans debat ni dissensus. Et ce qui se joue a cette occasion gagne a etre evoque au regard d'autres heritages conflictuels. D'ou les analyses sur les limites de la prise en charge patrimoniale de l'esclavage aux Antilles, le point de vue indigene dans les "societes de colons", ou les affrontements memoriels a propos du passe colonial francais. Enfin, c'est hors des murs du musee qu'il faut regarder. Car c'est aussi par l'action culturelle au sens large que passent de tels enjeux. Du travail d'associations de terrain pour promouvoir les memoires de "l'autre" ou des "Suds" aupres du grand public, jusqu'aux projets en gestation a l'echelle europeenne autour du patrimoine des migrations.
At The Trout Gallery I am grateful for the support of the museum's Advisory Committee and the Fri... more At The Trout Gallery I am grateful for the support of the museum's Advisory Committee and the Friends of The Trout Gallery. Stephanie Keifer, the museum's senior administrative associate, copy-edited the catalogue text and provided essential organizational services. She is assisted by Lillian Middleton. James Bowman prepared the objects and worked with members of the seminar to design and install the exhibition. In museum education, Heather Flaherty and Amie Bantz provided a range of educational programs to the Dickinson College and Carlisle community. Rosalie Lehman, Susan Russell, and Catherine Sacco provided essential visitor services.
This catalogue and corresponding exhibition at The Trout Gallery are the work of the members of t... more This catalogue and corresponding exhibition at The Trout Gallery are the work of the members of the Art Historical Methods Seminar at Dickinson College. The annual seminar is designed to introduce students to the practice of preparing an exhibition and catalogue. Working with objects drawn from The Trout Gallery's permanent collection and private collections, members of the seminar selected and researched the works in the exhibition, organized them into major themes, and prepared the following thematic essays and exhibition didactics. Their work is supported by several gifted and dedicated college and museum professionals. Inked Impressions is made possible in large measure by collectors who have built The Trout Gallery's impressive collection of nineteenth-and early twentieth-century prints. The majority of the works in this exhibition are the gifts of four donors: Eric Denker, class of 1975, Mrs. Grace Linn, Charles Coleman Sellers, and Miss Mildred Sawyer. We are grateful for their generosity. We wish to pay special recognition to Eric Denker, for his support and assistance on this project.
Mt. Washington, 2014 varnished platinum print over gold and palladium leaf, 3 x 3 in. Somewhere a... more Mt. Washington, 2014 varnished platinum print over gold and palladium leaf, 3 x 3 in. Somewhere at 30,000 Feet, 2014 varnished platinum print over palladium leaf, 3 x 3 in. Moonrise, 2012 varnished platinum print over palladium leaf, 3 x 3 in. Looking East, North Carolina, 2014 varnished platinum print over gold and palladium leaf, 3 x 3 in.
Joyce Kozloff: Co-Ordinatesconsiders the New York-based artist's paintings and works on ... more Joyce Kozloff: Co-Ordinatesconsiders the New York-based artist's paintings and works on paper--which employ the formal structure and conventions of cartography to examine issues of power, gender and global politics--from the late 1990s to the present. This is the first ...
Presses universitaires du Midi eBooks, 2008
L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieu... more L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieurs manières. L’une des méthodes les plus anciennes et les mieux établies consiste à imposer un système de classification à un ensemble donné d’objets, puis d’organiser l’exposition à partir de celui-ci, souvent grâce à un classement chronologique. En disposant ainsi les objets exposés, les conservateurs renforcent les théories académiques qui les guident et « prouvent » la justesse de la thèse qui..
CAA.reviews, Jun 16, 2010
Historical Methods Seminar at Dickinson College. The annual seminar is designed to introduce stud... more Historical Methods Seminar at Dickinson College. The annual seminar is designed to introduce students to the practice of preparing an exhibition and catalogue. Working with objects drawn from three separate collections, members of the seminar organized the material into major themes and prepared the following thematic essays and exhibition didactics. Their research and planning have been supported by a variety of gifted and dedicated college and museum professionals. The members of the seminar would like to join me in thanking members of the Cumberland County Historical Society in Carlisle for loaning a number of important works to the exhibition and for providing access to their invaluable resources related to the Carlisle Indian School. In particular, we would like to thank its director, Linda Witmer, and curators, Wayne E. Mott and Richard Tritt, for meeting our every request with professionalism and enthusiasm. We thank Lonna Malmsheimer from the Department of American Studies at Dickinson College and Barbara Landis from the Cumberland County Historical Society for sharing with us their extensive knowledge of the history of the Carlisle Indian School. At Dickinson College, we thank the staff at Waidner-Spahr Library, particularly Jane Schroeder and Jim Gerencser of Archives and Special Collections, for allowing The Trout Gallery to borrow its collection of Carlisle Indian School photographs and for providing access to the library's important primary and secondary resources. We also thank Christine Bombaro for making her research services available to members of the seminar. Special gratitude is due to Kim Nichols and Pat Pohlman in the office of publications for their skillful design of this catalogue and seeing it through production under the challenging deadlines posed by the project. We thank Pierce Bounds for providing photographs for the catalogue and Heidi Hormel for making this exhibition known to a wider audience. We also thank members of the Department of Art and Art History, particularly Sharon Hirsh and Melinda Schlitt, for creating and developing the concept for the methods seminar and for providing much appreciated support and assistance. Finally, thanks is due to members of The Trout Gallery who helped make this exhibition possible. Stephanie Keifer, the museum's administrative assistant, copy edited the final catalogue and provided essential organizational services. James Bowman prepared the objects and worked with members of the seminar to design and install the exhibition. Wendy Pires and Dottie Reed organized and promoted the various outreach programs to area schools and community centers. Sylvia Kauffman, Rosalie Lehman, and Sue Curzi assisted with the outreach programs and provided essential visitor services. This exhibition raises a number of challenging issues. We hope that we have been faithful to the lives and memories of those who played a part in the Carlisle Indian School during its thirty-nine year history.
In One Hundred Summers, Candace Greene examines a recently discovered bundle of heavily worn Kiow... more In One Hundred Summers, Candace Greene examines a recently discovered bundle of heavily worn Kiowa calendar drawings by one of the great Kiowa calendar keepers, Silver Horn, now in the collections of the Sam Noble Oklahoma Museum of Natural History (SNOMNH). The loose drawings, once bound in a ledger book, document events from 1828 to 1929, a period that brought unprecedented change to the Kiowas. Greene opens her study with an introduction to the Kiowa calendar tradition, followed by two shorter chapters dealing specifically with Silver Horn’s calendar at the SNOMNH. Chapter 4 presents the 64 surviving sheets that once formed the ledger book. Since almost all of the calendar versos are blank, only the drawings on the rectos are reproduced. The sheets measure 6”x15” and have been reproduced 50% of their original size and oriented top to bottom in order to provide the largest images possible within the book’s dimensions. The drawings are reproduced on the book’s versos with correspon...
Imprisoned Art adds to its author\u27s growing list of impressive publications that consider the ... more Imprisoned Art adds to its author\u27s growing list of impressive publications that consider the so-called ledger drawings created by Plains Indian warriors incarcerated, as prisoners of the Southern Plains wars, at Fort Marion in St. Augustine, Florida, between 1875 and 1879. It focuses on what were once two fully intact books of drawings, one by Zotom (Kiowa), the other by Howling Wolf (Cheyenne). Treated earlier in Dorothy Dunn\u27s 1877: Plains Indian Sketch Books of Zo-Tom and Howling Wolf (1969), and, with respect to Howling Wolf, in Szabo\u27s Howling Wolf and the History of Ledger Art (1994), the books receive here a comprehensive analysis that considers not only the artists and their drawings, but, most significantly, their patron
Confraternitas
This dissertation considers the art and architecture of the residence and loggia of the Compagnia... more This dissertation considers the art and architecture of the residence and loggia of the Compagnia di Santa Maria della Misericordia. The Misericordia was one of the largest charitable confraternities in late medieval Florence. It was located on the Piazza San Giovanni, near the Baptistry, Campanile, and Duomo, in the
A Scarlet Renaissance: Essays in Honor of Sarah Blake McHam, 2013
Migrations, mémoires, musées, 2008
L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieu... more L’exposition des collections permanentes et temporaires d’un musée peut être organisée de plusieurs manières. L’une des méthodes les plus anciennes et les mieux établies consiste à imposer un système de classification à un ensemble donné d’objets, puis d’organiser l’exposition à partir de celui-ci, souvent grâce à un classement chronologique. En disposant ainsi les objets exposés, les conservateurs renforcent les théories académiques qui les guident et « prouvent » la justesse de la thèse qui..
Migrations et immigration au musee. Le mouvement est international. Car ce nouveau sujet d'ex... more Migrations et immigration au musee. Le mouvement est international. Car ce nouveau sujet d'exposition recouvre de nouveaux questionnements autour de l'identite collective des societes contemporaines. Aux Etats-Unis, au Canada, en Australie ou en France, comment des institutions specifiques abordent-elles l'histoire de l'immigration ? Comment la rattachent-elles au fait national ? Quel discours d'inclusion tissent-elles ? Quel imaginaire social les traverse ? Rencontrant les memoires des migrants, la museographie devient moyen de reconnaissance, vecteur de visibilite. Musee receptacle d'une communaute ethnique. Musee virtuel documentant en ligne le passe d'une ville d'immigrants. Politique d'exposition sur la diversite des memoires a l'echelle d'un espace regional... Autant d'experiences mises ici en perspective par des universitaires et des conservateurs francais et etrangers. Mais ces themes n'emergent pas sans debat ni dissensus. Et ce qui se joue a cette occasion gagne a etre evoque au regard d'autres heritages conflictuels. D'ou les analyses sur les limites de la prise en charge patrimoniale de l'esclavage aux Antilles, le point de vue indigene dans les "societes de colons", ou les affrontements memoriels a propos du passe colonial francais. Enfin, c'est hors des murs du musee qu'il faut regarder. Car c'est aussi par l'action culturelle au sens large que passent de tels enjeux. Du travail d'associations de terrain pour promouvoir les memoires de "l'autre" ou des "Suds" aupres du grand public, jusqu'aux projets en gestation a l'echelle europeenne autour du patrimoine des migrations.
At The Trout Gallery I am grateful for the support of the museum's Advisory Committee and the Fri... more At The Trout Gallery I am grateful for the support of the museum's Advisory Committee and the Friends of The Trout Gallery. Stephanie Keifer, the museum's senior administrative associate, copy-edited the catalogue text and provided essential organizational services. She is assisted by Lillian Middleton. James Bowman prepared the objects and worked with members of the seminar to design and install the exhibition. In museum education, Heather Flaherty and Amie Bantz provided a range of educational programs to the Dickinson College and Carlisle community. Rosalie Lehman, Susan Russell, and Catherine Sacco provided essential visitor services.
This catalogue and corresponding exhibition at The Trout Gallery are the work of the members of t... more This catalogue and corresponding exhibition at The Trout Gallery are the work of the members of the Art Historical Methods Seminar at Dickinson College. The annual seminar is designed to introduce students to the practice of preparing an exhibition and catalogue. Working with objects drawn from The Trout Gallery's permanent collection and private collections, members of the seminar selected and researched the works in the exhibition, organized them into major themes, and prepared the following thematic essays and exhibition didactics. Their work is supported by several gifted and dedicated college and museum professionals. Inked Impressions is made possible in large measure by collectors who have built The Trout Gallery's impressive collection of nineteenth-and early twentieth-century prints. The majority of the works in this exhibition are the gifts of four donors: Eric Denker, class of 1975, Mrs. Grace Linn, Charles Coleman Sellers, and Miss Mildred Sawyer. We are grateful for their generosity. We wish to pay special recognition to Eric Denker, for his support and assistance on this project.
Mt. Washington, 2014 varnished platinum print over gold and palladium leaf, 3 x 3 in. Somewhere a... more Mt. Washington, 2014 varnished platinum print over gold and palladium leaf, 3 x 3 in. Somewhere at 30,000 Feet, 2014 varnished platinum print over palladium leaf, 3 x 3 in. Moonrise, 2012 varnished platinum print over palladium leaf, 3 x 3 in. Looking East, North Carolina, 2014 varnished platinum print over gold and palladium leaf, 3 x 3 in.