Hachivi Edgar Heap of Birds’s Artwork

2018 ◽  
pp. 214-228
Author(s):  
Hertha D. Sweet Wong
Keyword(s):  
Public Art ◽  
Native Identity ◽  
History Of ◽  
Ongoing Project

Cheyenne conceptual artist Hachivi Edgar Heap of Birds makes word paintings, abstract paintings, and public art installations. This chapter considers Heap of Birds’s focus on memory, history, and community as central to his self and community-formulation. Through his artwork using image and text, he contributes to the ongoing project of decolonization: making visible a history of Native erasure and appropriating settler-colonial discourses of place and time, first steps in articulating a contemporary, collective, and sovereign Native identity.

scholarly journals The Location of Settled Diasporas in Nova Scotian Fiction

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 102
Author(s):  
Miasol Eguíbar-Holgado
Keyword(s):  
Indigenous Populations ◽  
Direct Transformation ◽  
Diasporic Identity ◽  
Indigenous Groups ◽  
Native Identity ◽  
History Of ◽  
Historical Presence ◽  
The One ◽  
History Of Migration ◽  
Nova Scotian

This article offers a comparative study between two novels by Nova Scotian writers: George and Rue (2006), by George Elliott Clarke, and No Great Mischief (2000), by Alistair MacLeod. The main purpose of this analysis is to transform some of the pervasive assumptions that dominate interpretations of diasporic ontologies. Most conceptual contexts of diaspora, constructed around the idea of a homeland that is located elsewhere, can only partially be applied to historically long-established communities. Clarke’s and MacLeod’s works emphasize “native” identity, the historical presence of Africans and Scots in Nova Scotia and their ensuing attachment to the (home)land. The novels illustrate how the hostland may be transformed into a homeland after centuries of settlement. The favoring of routes over roots of many current conceptualizations of the diaspora thus contravenes the foundations on which these groups construct a “native/diasporic” identity. However, in settler colonies such as Canada, identifying these groups as unequivocally native would imply the displacement of the legitimate Indigenous populations of these territories. A direct transformation from diaspora to indigenous subjectivity would entail the obliteration of a (however distant) history of migration, on the one hand, and the disavowal of Indigenous groups, on the other. For these reasons, new vocabulary needs to be developed that accurately comes to terms with this experience, which I propose to refer to as “settled diaspora.” In settled diasporas, the notions of attachment to a local identity are reconciled with having distant points of origin. At the same time, there is conceptual room to accommodate claims of belonging that differ from those by Indigenous populations. Thus, the concept of the settled diaspora redresses critical restrictions in diaspora theory that prevent discourses of migration from being applied to spaces of settlement.

A Social History of Art and Public Art Education in Quebec: The 1960s

1990 ◽  
Vol 31 (4) ◽  
pp. 226 ◽  
Author(s):  
Suzanne Lemerise ◽  
Francine Couture ◽  
Käthe Roth ◽  
Kathe Roth
Keyword(s):  
Art Education ◽  
Social History ◽  
Public Art ◽  
History Of Art ◽  
History Of ◽  
The 1960S

MULTICULTURAL HISTORY OF THE REGION IN THE ACTIVITIES OF KĖDAINIAI REGIONAL MUSEUM

Via Latgalica ◽  
2014 ◽  
pp. 231
Author(s):  
Rimants Žirgulis
Keyword(s):  
Public Art ◽  
Historical Memory ◽  
Short Review ◽  
Public Spaces ◽  
Main Attention ◽  
Local Society ◽  
The World ◽  
History Of

The objective of this paper is to make a short review of influence of the multicultural history of the region and its using in the activities of Kėdainiai Regional Museum. Kėdainiai has a rich multicultural history and heritage, which are very often used by Kėdainiai Regional Museum and all of its six branches. The main attention is paying to educational and project activities. Discovering Kėdainiai as a place of intersection of various nations and cultures, a peculiar Atlantis of a borderland, sometimes by playing or reminding, preservation and nurturance of historical memory of local society, sometimes by public art as invasion into public spaces of town. Such activities of Kėdainiai Regional Museum help to get rid of provinciality and contribute to create the Lithuanian modern civilized nation, open to the world.

scholarly journals Contemporary Debates: The Hundertwasser Art Centre with Wairau Maori Art Gallery

2017 ◽  
pp. 5-25
Author(s):  
Imogen Van Pierce
Keyword(s):  
New Zealand ◽  
Public Art ◽  
Art Gallery ◽  
Civic Architecture ◽  
Economic Context ◽  
The Arts ◽  
The People ◽  
Artistic Representation ◽  
History Of

What began as a humble sketch on the back of an envelope, the Hundertwasser Art Centre with Wairau Māori Art Gallery project has evolved into a unique and ambitious quest for artistic representation in Northland. The history of this controversial public art project, yet to be built, has seen a number of debates take place, locally and nationally, around the importance of art in urban and rural societies and the broader socio-economic context surrounding the development of civic architecture in New Zealand. This project has not only challenged the people of Northland to think about the role of art in their community, but it has prompted New Zealanders to question whether there is an appropriate level of investment in the arts in New Zealand.

Confronting an Emergency: The Vaccination Campaign Against Meningitis in Brazil (1974–1975)

2019 ◽  
Author(s):  
Baptiste Baylac-Paouly
Keyword(s):  
Scientific Literature ◽  
Vaccination Campaign ◽  
Public Health Emergency ◽  
Social Aspects ◽  
Vaccine Production ◽  
Historical Sources ◽  
Public And Private ◽  
Wide Range ◽  
History Of ◽  
Ongoing Project

Summary On the basis of a wide range of historical sources, including published scientific literature and both public and private archives (Institut Mérieux, WHO and IMTSSA), this article examines the history of the Brazilian vaccination campaign against cerebrospinal meningitis between 1974 and 1975. It explores not only certain aspects of vaccine production but also the wider social aspects of the ongoing project. Thus, it shows how the different actors were mobilised and their work coordinated in order to produce and vaccinate a whole country or more specifically, 90 million Brazilians in less than a year. This episode not only adds to the scholarship on the politics of vaccination but also attests to the complex reality of the production and use of a vaccine in the context of a public health emergency.

Industrial archaeology at South Georgia: methods and results

Polar Record ◽  
1996 ◽  
Vol 32 (180) ◽  
pp. 51-66 ◽  
Author(s):  
Bjørn L. Basberg ◽  
Dag Nævestad ◽  
Gustav Rossnes
Keyword(s):  
Survey Data ◽  
Survey Methods ◽  
Future Research ◽  
Cd Rom ◽  
Industrial Archaeology ◽  
South Georgia ◽  
History Of ◽  
Photographic Survey ◽  
The Individual ◽  
Ongoing Project

AbstractThe former whaling stations at Grytviken, Husvik Harbour, and Stromness Harbour on South Georgia were surveyed during two expeditions by a Norwegian party investigating industrial archaeology. This paper decribes the survey methods, which included photographic documentation, measurements, and mapping. Maps of the entire stations were made from photogrammetric and theodolite surveys. Detailed plans of the individual buildings were made, with each room being identified and measured. A detailed photographic survey was also undertaken. The paper then presents the main results of the analysis of the survey so far, and suggests some possibilities for utilizing the results in future research. It also describes an ongoing project on the construction of a CD-ROM on the history of Husvik Harbour, of which the survey data are an important part.

scholarly journals Reconciliation: The Institutionalization of Memory in Post-Yugoslav Slovenia

2021 ◽  
Vol 15 (1) ◽  
pp. 87-108
Author(s):  
Tjaša Konovšek
Keyword(s):  
Political System ◽  
Turning Point ◽  
The European Union ◽  
Independent State ◽  
Specific Element ◽  
The Past ◽  
Public Debates ◽  
History Of ◽  
Ongoing Project ◽  
The Eu

Abstract For Slovenian society the turning point in 1989 meant many things: the making of a new state, a transition to a new political and economic system, but also a new dimension of remembrance. The democratization process that started in the late 1980s and continued in the 1990s was deeply interwoven with the reconfiguration of public remembrance and the legitimation of the nascent Slovenian state. This resulted in a long and still ongoing project of reconciliation (sprava), a process of surpassing the divisions in society caused by the injustices and crimes committed by the Communist leadership in the previous decades. Its goal seems simple: to reach a point where history will no longer be a source of division in politics and where a relative unity could be established within the society. As it moves away from the discussion of the disputed past itself, this article focuses on the history of the concept of reconciliation and the state's subsequent memorial policy of the last three decades. The development of the concept entails changes in the understanding of the past after two major political shifts: after 1990, when Slovenia became an independent state; and again after 2004, when it joined the European Union (EU). The identification of these shifts is based on the changes in the content of political and public debates. I propose that the Slovenian reconciliation between 1990 and 2004 be regarded as a specific element of the period from the end of communism until the Slovenian accession to the EU (transition), during which the political system changed.

Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi

ARTMargins ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 79-101
Author(s):  
Esra Akcan
Keyword(s):  
Architectural Design ◽  
Architectural History ◽  
Abu Dhabi ◽  
Global History ◽  
Design Practices ◽  
Museum Design ◽  
History Of ◽  
History Of Architecture ◽  
Ongoing Project

This article comparatively discusses the 14th International Architecture Biennale of Venice, directed by Rem Koolhaas, and the pilot exhibit and architectural design of Louvre Abu Dhabi undertaken by Jean Nouvel, in the context of recent big art events and world museums. Curatorial, historiographical, and installation strategies in these venues are differentiated in order to think through the question of displaying a global history of architecture. I make a distinction between the curatorial practices carried out in the Fundamentals and Absorbing Modernity sections of Venice's Central and National Pavilions as curator-as-author and curators-as-chorus, which I map onto recent historiographical and museum design practices, including the Louvre Abu Dhabi, to discuss the geopolitical implications of its installation strategies. I also argue that six methodological perspectives for displaying architectural history emerge from the curator-chorus of Absorbing Modernity, which can be identified as survey, nationalist history, case study, thematic history, archive metaphor, and deferment, all of which contribute to and raise questions about the ongoing project towards a global architectural history. After suggesting a difference between “world” and “global” history of architecture, I call for a more geopolitically conscious and cosmopolitan global history of architecture, by exposing the intactive bonds between the history of modernism and of colonization, as well as the continuing legacy of geopolitical and economic inequalities that operate in such venues.

Introduction

2019 ◽  
pp. 7-30
Author(s):  
Lisa Blee ◽  
Jean M. O’Brien
Keyword(s):  
Public Art ◽  
Historical Memory ◽  
Native Peoples ◽  
The Public ◽  
The Past ◽  
The World ◽  
History Of ◽  
Popular Interest ◽  
The U.S ◽  
Over Time

This chapter explains the connection between monuments and the stories about the past they convey to viewers over time. While monuments are considered static and place-bound, this statue of the Massasoit became mobile in numerous ways: in stories that travel with the viewer; as small replicas carried away as souvenirs or purchased as art across the country and the world; and in full-sized casts installed in diverse public settings in the Midwest and West. This chapter argues that the fact that the statue represents a Native leader with a connection to the story of the first Thanksgiving makes its mobility uniquely revealing of the fraught historical memory of colonialism in the U.S. This chapter introduces the argument that Wampanoag and other Native peoples have long resisted, challenged, and refigured the popular celebratory story of peaceful colonization often attached to the figure of the Massasoit. This chapter also introduces the history of the Thanksgiving myth, recounts Wampanoag and English settler relations, explains the popular interest in Indian statuary, and provides background on the public art movement that lead to the commission of the Massasoit statue.

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