Marie Watts

Marie Watts, “Threshold”

Marie Watts “Heirloom”

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“My work explores human stories and rituals implicit in everyday objects. I am interested in the history of wool blankets and their heirloom-like quality…Wool blankets are the pelts of our animal relatives, the sheep. Blankets are body-like.” Marie acknowledges the miriad uses for blankets:- blankets are part of “how we are received into the world and also how we depart this world.”- they are used for warmth and shelter- children use them for hiding and to create forts- “A blanket is a catcher of dreams and ledger of secrets”

Marie Watts, “Blanket-stories: Ladder” (2005, installation)

Marie Watts"Demokratie Ist Lustig," (Democracy is Merry)

Matthew Buckingham

Artwork: “questions the role that social memory plays in contemporary life…projects create physical and social contexts that encourage viewers to question what is most familiar to them.”

-Documentary format: interweaves past & present

Mathew Buckingham, “The Six Grandfathers, Paha Sapa, in the Year 502,002 C.E. “

“He asks the viewer to consider Mt. Rushmore as a cultural, political, and social symbol by imagining Rushmore’s inevitable disappearance and slow return to ‘nature’. As its power to represent fades, the paradox of Rushmore’s meaning as a ‘shrine to democracy’ – on land stolen from the Sioux and carved by an artist who was an active member of the KKK – intensifies.”

Matthew Buckingham, “Muhheakantuck–Everything Has a Name”

a. (Pertaining to the concept of “Object-hood” as discussed):

How does the passing of time influence the meaning of an object?

b. What is an object/ geographic location that has particular meaning to you because of associated ritual and whose ritual imbibed it with meaning?

Questions:

Peter Edlund

“ Painted in the meticulous style of the originals, Edlund uses a 19th c. painting technique to discuss the inherent lie in American Romantic painting as well as in the concept of Manifest Destiny.”

-bases his work on renowned individual artists whose “…original paintings were a romantic revision of a landscape that never actually existed.”

-“He has created these scenes as a re-revision, or rather truth-telling, especially in connection to the African and Native-American experiences.”

Peter Edlund: “Andrew “Sharp-knife” Jackson Eliminates the Last of the Eastern Natives”

Based on Thomas Cole’s “Oxbow in the Connecticut River”

“Oxbow…” was painted while Jackson was President; he became famous while under Jefferson, during which time he was responsible for tribal deportation West of the Mississippi (Trail of Tears). Natives called Jackson “Sharp-knife”.

Peter Edlund: “Reconstruction of the American South” (after Martin Johnson Heade)

Heade lived in Florida & painted during the reconstruction; during that time the KKK first developed. Edlund painted a burning cross in the background as illustration

Peter Edlund “Rape of the Modoc in Yosemite” after Albert Bierstadt

Bierstadt was renowned for painting “fictitious” paintings of the American West; the US 1st Cavalry was in charge of relocating Natives in California, during which process they often raped and murdered the Modoc to gain their submission

Rigo 23

“… the bulk of RIGO's work more literally highlights world politics and political prisoners from the Black Panthers of the Angola Three to the American Indian Movement's Leonard Peltier.”

Tate Wikikuwa Museum (“Wind Chases Sun”)

-Rigo created this show in response to the 30 year imprisonment of

Leonard Peltier; Peltier was convicted of the deaths of 2 FBI agents in Pine Ridge Reservation shootout in S.D in 1975

*June 26th, 1975 firefight between 150 FBI and 40 Native Americans; 2 FBI died, and one Native American (3 tribal members charged but only Peltier was convicted)*

-the show contains a replica of Peltier’s 6’x12’ cell; personal and political information and paintings he’s made while in prison;

the show has evolved as Peltier’s situation has changed/ ongoing

c. When thinking of landscape as a juncture of past, present and future:

Describe a particular place (locally or otherwise) that seems an especially good illustration of this type of juncture.

(as either a place where past, present and future convene, or as a place where they might be MADE to convene by you or someone else)