#Kay Walkingstick

[abwwia]

Kay WalkingStick, April Contemplating May, 1972, acrylic on canvas, 50 x 50 in / 127 x 127 cm, Whitney Museum of American Art, New York © Kay WalkingStick

#Kay WalkingStick #art by women

[princessofmissouri]

kay walkingstick

#art #upload

[goodmemory]

Kay WalkingStick, Feet Series Arrangement, 1972.

[harvardfineartslib]

Happy Birthday to Emma Amos (1937–2020) who was born on this day in 1937!

Amos is known for her bold and colorful mixed media figurative works that incorporate painting, printmaking, textile, and photo collage. Her works often depict women flying or falling, athletes running, and Black figures, whether historical or contemporary. Deeply charged with feminist politics and focusing on racial and cultural fabrics, Amos challenged sexism and racism in our society.

Amos said that her interest in figuration came from a growing awareness of “of black people and that black is beautiful and there’s nothing wrong with it; and that it’s something to remark upon and to make a record of.” (from her 1968 interview with Al Murray.)

Image 1: Front cover with “Tightrope” Acrylic on canvas with African fabric borders and photo transfer, 1994

Image 2: Front end papers showing photographs of the artist and her works

Image 3: Left: Emma Amos, ca. 1990s, photo by Becket Logan, Right: Emma Amos in Bond St. studio, ca. 1993

Emma Amos : color odyssey Edited and with an essay by Shawnya L. Harris ; and essays by Lisa Farrington, LaToya Ruby Frazier, Laurel Garber, Kay Walkingstick, and Phoebe Wolfskill. [Athens, Ga.] : Georgia Museum of Art, University of Georgia, [2021] English HOLLIS number: 99155279216703941

#EmmaAmos #Womenartist #Blackwomenartist #BOTD #Bornonthisday #happybirthday #womenshistorymonth #HarvardFineArtsLibrary #Fineartslibrary #Harvard #HarvardLibrary #harvardfineartslibrary #fineartslibrary #harvard #harvard library #harvardfineartslib #harvardlibrary #painting

[mybeingthere]

Kay WalkingStick (born 1935) is a Native American landscape artist and a member of the Cherokee Nation. Her later landscape paintings, executed in oil paint on wood panels often include patterns based on Southwest American Indian rugs, pottery, and other artworks.

WalkingStick's works are in the collections of many universities and museums, like the Metropolitan Museum of Art, the Israel Museum, the National Museum of Canada, and the Smithsonian National Museum of the American Indian. She is an author and was a professor in the art department at Cornell University, where she taught painting and drawing. She has been accepted into many artist residency programs which gave her time away from teaching duties to paint. WalkingStick won many awards and in 1995 was included in H.W. Janson's History of Art, a standard textbook used by university art departments.

http://www.kaywalkingstick.com/

[artbookdap]

In 2014, tech leader and burgeoning art collector Komal Shah's "eyes were opened to what she described as vast inequities faced by women artists in market prices, museum acquisitions and overall visibility in the art world." ⁠ ⁠ She has since assembled one of the most notable collections in America. "Made predominantly by generations of women working in abstraction, from the mid-20th-century artists Joan Mitchell and Lenore Tawney to the young contemporary painters Firelei Báez and Jadé Fadojutimi, the collection isn’t obviously about gender. Rather, it embodies a feminist perspective through its bold expressiveness."⁠ ⁠ Read more about Ms. Shah, the collection and the superb forthcoming 432-page catalog, 'Making Their Mark: Art by Women in the Shah Garg Collection,' in this @nytimes feature by @hilariesheets via linkinbio⁠ ⁠ 'Making Their Mark: Art by Women in the Shah Garg Collection' is published by @gregoryrmiller⁠ ⁠ Edited with text and interview by Mark Godfrey, Katy Siegel. ⁠ Text by Daniel Belasco, Glenn Adamson, David J. Getsy, Kirsty Bell, Jessica Bell Brown, Gloria Sutton, Kevin Beasley, Charles Gaines, Lyle Ashton Harris, Jacqueline Humphries, Allison Katz, Helen Marten, Laura Owens, Tschabalala Self, Christina Quarles, Jaune Quick-to-See Smith, Joyce J. Scott, Kay Sekimachi, Mary Weatherford, Aria Dean, Kay WalkingStick.⁠ ⁠ @komalshahgarg @markgodfrey1973 @katysiegel.88 #makingtheirmark #shahgarg #shahgargcollection https://www.instagram.com/p/CqGFkuRuFp6/?igshid=NGJjMDIxMWI=

#makingtheirmark #shahgarg #shahgargcollection

[steamedtangerine]

Kay Walkingstick

#art

[citylifeorg]

New-York Historical Society Presents Kay WalkingStick / Hudson River School

Kay WalkingStick (Cherokee, b.1935), Niagara, 2022. Oil on panel in two parts. New-York Historical Society, Purchased through the generosity of Agnes Hsu-Tang and Oscar Tang; Nancy Newcomb; Anonymous; Barry Barnett; Helen Appel; Belinda and Charles Bralver; Dorothy Tapper Goldman; Margi and Andrew Hofer; Louise Mirrer; Jennifer and John Monsky; Suzanne Peck and Brian Friedman; Pam and Scott…

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[native-blog-deutsch]

Robert Houle: Red Is Beautiful

Das National Museum of the American Indian in Washington, D.C. zeigt die zeitgenössische Kunst von Robert Houle an seinem letzten Ausstellungsort und dem einzigen in den Vereinigten Staaten. Robert Houle begrüßt Sie mit einer Auswahl seiner großformatigen Gemälde in der Galerie im dritten Stock des NMAI-Mall Museums in Washington D.C. Der Künstler Robert Houle (Saulteaux Anishinaabe, Sandy Bay First Nation, geb. 1947) wurde in Washington D.C. mit einem Applaus der Museumsbesucher und der in gespannter Erwartung versammelten Ureinwohner begrüßt. Red Is Beautiful ist die erste große Retrospektive von Houles Werk und feiert mehr als fünfzig Jahre der bemerkenswerten Karriere des Künstlers.  

Die Anishinaabe Jingle-Dress-Tänzerinnen Misty Rose Nace und Jennifer Night Bird Miller tanzten in ihren traditionellen Gewändern über einen roten und grauen Teppich und führten die Ehrengäste zur Eröffnungsvorschau von Robert Houle: Red Is Beautiful. Damon Bowe für das Smithsonian National Museum of the American Indian Die Ausstellung besteht aus etwa 90 großen Installationen und Gemälden, die zwischen 1970 und 2021 entstanden sind. Houles Werke verbinden die Geschichte und Ästhetik der kanadischen Ureinwohner mit Modernismus und zeitgenössischem Konzeptualismus. Ein perfektes Beispiel dafür ist Paris/Ojibwa (2010), eine Multimedia-Installation: Öl auf Holz, Öl auf Leinwand und davor eine Urne, gefüllt mit Salbei, Süßgras und Tabak. Weitere ikonische Werke sind Parfleches for the Last (1983), das seinen Respekt für die spirituellen Traditionen der Eingeborenen zum Ausdruck bringt, und Kanata (1992), eine Adaption von Benjamin Wests The Death of General Wolfe.  

Besucher versammeln sich am Eingang der Ausstellung Red Is Beautiful. Damon Bowe für das Smithsonian National Museum of the American Indian Robert Houle wurde in St. Boniface, Manitoba, Kanada, geboren. Er verbrachte seine frühen Jahre in Kaa-wii-kwe-tawang-kak (auch bekannt als Sandy Bay First Nation) am Westufer des Manitoba-Sees, wo er von der Gemeinschaft der Plains Ojibway, ihrer Kultur und Sprache umgeben war. Aufgrund des kanadischen Indianergesetzes war Houle gezwungen, katholische Internatsschulen zu besuchen, wo er und seine Altersgenossen von ihrer Sprache und Kultur getrennt wurden. In einigen seiner Gemälde zeigt Houle seine Erinnerungen an den Missbrauch und die gewaltsame Wegnahme aus seiner Gemeinschaft und Familie. Sein Werk Sandy Bay (1998-1999) gibt einen Rückblick auf diese Erfahrung.

Robert Houle und Kay WalkingStick reflektieren die Symbolik in einem seiner großen Gemälde in der Galerie. Damon Bowe für das Smithsonian National Museum of the American Indian Während seiner gesamten Laufbahn hat Houle in seinen Werken das zum Ausdruck gebracht, was er schätzt: die spirituelle Kraft des überlieferten indigenen Wissens und der Geschichte durch westliche und indianische Kunsttraditionen. Das Ergebnis ist ein Werk, das er "transkulturell" nennt. Heute ist das National Museum of the American Indian stolz darauf, Red Is Beautiful des international anerkannten indigenen Künstlers, Kurators und Schriftstellers Robert Houle auszustellen.  

Robert Houle, Red is beautiful, 1970. Acryl auf Leinwand, 45,5 x 61 cm. Canadian Museum of History Lesen Sie hier den Originalartikel. Read the full article

[topcat77]

 Kay WalkingStick

 “Two Women II,” 1973

#kay walkingstick

[visionistvenus]

Following Polaris, Kay WalkingStick, 2008

#Kay WalkingStick #2008 #2000s

[terminusantequem]

Kay WalkingStick (American, b. 1935), Stick Going to the Sun Road, 2011. Oil and white gold leaf collage on wood panel, 61 × 121.9 cm

#kay walkingstick

[psikonauti]

Kay WalkingStick

The Confluence of the Bushkill & the Delaware, 2016, oil and palladium leaf on wood panel

#Kay WalkingStick #upl #va

[tessa-beck]

Kay Walkingstick

April Contemplating May, 1972

Acrylic on canvas

50 x 50 inches

#Modern Painting #Art History #Painting #Feminist Art #Feminist Painting #Kay Walkingstick #Native American Art #Figurative Painting

[weepingwidar]

Kay WalkingStick (Native American/Cherokee, 1935) - Oh Canada (2018-2019)

#kay walkingstick

[taf-art]

April Contemplating May (1972). Kay WalkingStick.

#kay walkingstick #art #american art #native american art #female artists #1970s #painting #seen in person #whitney museum #spilling over