Out of the Shadows (original) (raw)
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Art of the Grand Canyon: An Introduction and Annotated Bibliography
Art of the Grand Canyon: An Introduction and Annotated Bibliography, 2023
"Art of the Grand Canyon" is a historical and bibliographical resource, but it also means to be an “interesting read” specifically for the audience of Grand Canyon historians and aficiona¬dos. The Introduction is a very brief, admitedly arbitrary, primer of Grand Canyon art for readers who may not be very familiar with the subject, highlighting some usual and some appealingly unusual aspects about well-known and obscure artists alike, and a few of their pieces. It also finds some new perspectives and makes a few comparisons that might be thought-provoking, perhaps unrealized. The annotated bibliography gathers citations for publications, beginning in 1853, that in some way mention or illustrate the work of Grand Canyon artists between 1851 and 2023. It serves as a documentary effort that confirms the breadth and depth of artistic interest in the Grand Canyon. It also introduces numerous artists who have not had the privilege of being “recognized” in the world of art, such as those whose work was contributed “on the fly” to various journals and magazines, who are not acclaimed artists in their own right. There seems to be no end to artists’ interest in an admittedly challenging subject—the canyon—and the appearances of these works in magazines and books, whether only by mention or illustration, maintains a steady pace. There are many “Grand Canyon art books,” too. One has only to look at the front matter or specific chapters within them to find information about, and examples of, the work of renowned Grand Canyon artists—for example, Thomas Moran from the “old school,” Bruce Aiken from the present, and Gunnar Widforss in between—all of them as different in concept, media, and perspective as there are moods of the canyon itself. It is beyond the purpose of this project to offer criticism; its objective is to present a motivatingly different introduction to Grand Canyon art, and to make published information known. As more and more items are found, they will naturally continue the documentary effort, but surely they will also expose new or forgotten works that run the gamut from monumental to distressingly poor. Anyway, the Grand Canyon always beckons—challenges—those who come to portray it with brush, pencil, crayon, or chalk, even with media such as fabric, clay, glass, and metal. "Art of the Grand Canyon" is a new contri¬bution to the history of the Grand Canyon; one that is hopefully interesting for things in it that may not have been realized by its Grand Canyon audience, and in its accounting for the variety of things that have been published that have something to do with Grand Canyon art. Introduction. “Try again, Daingerfield.” Trying Out the Canyon: First and Early Samples of Grand Canyon Art 1851 — Richard Kern 1858 — Balduin Möllhausen and Friedrich Wilhelm von Egloffstein About 1872–1875 —Various artists, for J. W. Powell 1872–1873 — William Henry Holmes and Thomas Moran 1875 and later — Edwin E. Howell 1875 and later —Frederick S. Dellenbaugh 1891 — Henry Moubray Cadell Turn of the Century — Thomas Moran 1903 — François E. Matthes 1906 — Louis Akin 1923 — Sven Hedin Reusing and Reimagining Illustrations An Unusual Piece of Government Artwork Part 1. Complete Bibliography Arranged by Author of Publication Addendum: List of Catalogs and Exhibition Publications Part 2. Selected Bibliography Arranged by Names of Artists
Dam Visuals: The Changing Visual Argument for the Glen Canyon Dam
Journal of Technical Writing and Communication, 2008
Arguments manifest in scientific visuals through graphic representation, content placement, and overall document structure. These arguments, designed to influence public perception, change over time in relation to sociopolitical climate. Analysis of a series of documents constructed deliberately to influence perception can help to determine patterns of argumentation and perceived exigencies. In this article, four self-guided tour brochures produced for distribution to visitors to the Glen Canyon Dam in 1977, 1984, 1990, and 1993 are analyzed in order to identify rhetorical strategies designed to influence public perceptions of the dam site, and examine how public perception of the dam, and related argumentation, is structured by sociopolitical climate.
2010
Since the valorization of abstraction beginning at midcentury, Western realist art has suffered from the sense that it is too regional, nostalgic, conventional, and populist to be considered a significant and relevant contribution to the contemporary American pictorial tradition. Richly illustrated and drawing upon the resources of the Denver Art Museum\u27s Institute of Western American Art, as well as an exhibition of drawings and sculptures by George Carlson, Heart of the West attempts to reposition contemporary Western realist art and situate this work as an important and persistent contribution to American art. In addition to an introduction by the director of the Institute of Western American Art, four essays limn the continuities and differences within Western art, outline the importance of the Contemporary Realism Group, discuss in detail the work of Carlson, and consider the notion of the artist as explorer
American Indian Rock Art, 2021
This paper presents the results of documentation and initial analysis of rock art at the cluster of Ancestral Pueblo sites (mostly cliff dwellings) located in three canyons of southwestern Colorado in the Canyons of the Ancients National Monument in the central Mesa Verde region. These sites date to the thirteenth century A.D. (Late Pueblo III period) and probably functioned as a community or two separate communities in this period. However, there are also few examples of much older rock art at these sites (possibly Basketmaker II period). Most of the rock art is within habitation sites or in their close proximity. Rock art recording included tracing, digital photography, photogrammetry, 3D laser scanning, and subsequent analysis using various software. Hopi representatives provided field consultation for certain rock art panels, offering invaluable help and interpretations based on Pueblo oral tradition. This research is part of a larger project that aims to document the sociocultural changes in the Lower Sand Canyon area.
Pueblo Painting in 1932: Folding Narratives of Native Art into American Art History
The Blackwell Companion to American Art , 2015
[Excerpt] The year 1932: contemporary American Indian paintings traveled coast to coast in the Exposition of Indian Tribal Arts, the largest touring exhibition of Native American art in US history until 1976. The American Pavilion of the Venice Biennale featured Pueblo painters without formal arts training alongside George Bellows, John Sloan, Arthur B. Davies, and other well-known American artists. The Whitney Museum of American Art purchased a painting by Pueblo artist Tonita Peña for a record sum of $225. In France, publisher C. Szwedzicki released a lavish portfolio of prints titled Pueblo Indian Painting. On the eve of the New Deal, when the country’s economy and morale were at an all-time low, a New York Times critic assessed contemporary Native art as “American art, and of the most important kind.” As we write in 2014, most surveys of American art do not even mention that in the 1920s and 1930s a small but influential Pueblo and Kiowa painting movement sparked imaginations on both sides of the Atlantic. The envelope enclosing narratives of American art history expands and contracts with the cultural politics of a given present. Today, as scholars across disciplines are recovering a broad range of “global modernisms,” we return with a critical eye to a moment when Native art impacted understandings of American art in an international framework. Rather than push at the seams of an inherited envelope, we demonstrate that incorporating the first Native painting movement of the twentieth century back into American art history entails fundamentally altering its shape.
Pueblo Folklore, Landscape Phenomenology and the Visual Poetics of Fajada Butte
In the interest of reexamining the site of Fajada Butte in Chaco Canyon, this paper seeks to recontextualize discussions of its controversial spiral petroglyphs and astronomical phenomena (Sun Daggers) with reference to landscape phenomenology, visual and literary poetics, and the astronomical orientation of contemporary Pueblo ceremonial practices. The dearth of recent scholarship on Fajada Butte may have arisen from the many controversial arguments about its function from a variety of disciplinary locations including archaeology, anthropology, geology, and archeoastronomy. Via an emphasis on the physical landscape, storytelling, contemporary ceremonial practices and ancestral ties to Chaco Canyon, the Zuni and Hopi pueblos provide a context for re-examining the astronomical phenomena of Fajada Butte as a natural shrine of the of Chacoan culture and repository of an array of symbolic content.