Color creations from nature's studios revealing her masterly manipulation of color through the medium of superb motor car creations / Fisher Body Corporation, Fleetwood Body Corporation, General Motors. 1927.
National Automotive History Collection, Detroit Public Library
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“Das Leben ist doch so beschissen/Weil wir alle sterben müssen,” but when *The Detroit Public Library* likes my posts, it’s a lot less beschissen!
@detroitlib
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Cover
Ex Libris Detroit
ok, well, here’s the latest digital iteration of the book project on The Detroit Public Library. We’re gettin there...........
Marco Lorenzetti
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“Man stands on top of enormous pile of buffalo skulls; another man stands in front of pile with his foot resting on a buffalo skull; rustic cage is at foot of pile. Handwritten on back: ‘C.D. 1892 Glueworks, office foot of 1st St., works at Rougeville, Mich.’”
“LD/Industries & business houses-Michigan Carbon Works”
Detroit Public Library - Burton Historical Collection
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Map: A Tale of Two Cities - Detroit and Boston Comparison
In a 1919 brochure for the Rosedale Park development highlighted the clean air “out of the smoke zone” and the great opportunity of a growing region. At this point, Detroit was still relatively small by today’s city boundary definition, but the comparison to the Boston regional development and cooperation – specifically on public rapid transit – was another selling point for Rosedale Park (future…
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Handwritten on back: "The poultry house built and owned by Court-Sirrine and later by Perry Sirrine. Picture was taken while some of the buildings were on fire. Burned in 1939."
Detroit Public Library
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Baby llamas. Low fences permit the children to feed and pet the animals at the Children's Zoo, Belle Isle -- Detroit, Michigan. [ca. 1930–1945]
Tichnor Brothers Postcard Collection
Boston Public Library
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Springwells Station treatment plant, Detroit, 1931.
(Detroit Public Library)
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View of a windmill in Holland, Michigan, with tulips in foreground. Printed on front: "Dutch mill, Holland, Michigan." Printed on back: "L.L. Cook Co., post cards, Milwaukee, Wis." Handwritten on back: "Dear Ethel, Just wanted you to know we are thinking of you. Tressa & Olin are such nice hostesses. We had a good trip over although it rained. Laura Lee was very good and has been. I think she misses her daddy. We'll go to Toledo on Monday. Then home later in week. Chet will meet us there. We'll see you soon. Love, Dorothy & Laura Lee. P.S. Fri. morn Chet wrote about G. Its wonderful." Card is postmarked April, 1929.
Burton Historical Collection, Detroit Public Library
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Ypsilanti Water Tower, Michigan, 1909.
(Detroit Public Library)
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Promotional pic of a Corvette, 1970.
(Detroit Public Library)
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orville peck: appropriation and intellectual property
Orville Peck is a white South African man who has built his entire career off of colonial North American western aesthetics that are directly influenced by Métis and First Nations cultures and aesthetics. This aesthetic is incredibly loaded and has a history that he seemingly has no understanding of other than the fact that often cowboys were queer. In fact, Peck has gone so far as to rip off Métis and Saulteaux artist Dayna Danger.
Fig. 1: Danger, Dayna. Big’Uns: Adrienne, 2017. Courtesy of the artist’s website.
Fig. 2: Orville Peck for Alternative Press Magazine, January 2021
The first image is from a series of similar photographs created by Dayna Danger, well known contemporary artist from Winnipeg, Manitoba. The second image is Orville Peck's cover for Alternative Press magazine's January 2021 issue. In addition to the responsibility of the photographers and stylists to be researching artwork and influences and giving proper credit, it is also up to all parties to understand the colonial implications of the material culture represented in Peck's magazine cover.
Given that Peck is a white South African man I highly doubt he has an actual understanding of how North America was colonized, how animals like bison were hunted into near extinction by white settlers seeking to starve the First Nations and Métis people into extinction as a tool in their ongoing genocide. Many populations of native fauna are still recovering from this practice. In addition to slaughtering millions of animals, white settlers posed proudly with their trophies, mountains of skulls representing the loss of our animals and their triumph over nature and our people.
Fig. 3: Men standing with pile of buffalo skulls, Michigan Carbon Works, Rougeville MI, 1892. Photo from Burton Historical Collection, Detroit Public Library
Rather than providing an artistic compliment on the history of North American colonialism and cowboy culture, Orville Peck culture hopped from one settler-colonial state to another, to profit from and flatten the aesthetic into something simply rooted in queer culture rather than Black, Mexican, Métis, and First Nations communities and histories.
Works Cited:
Alternative Press. Orville Peck cover, January 2021.
Danger, Dayna. Big'Uns: Adrienne, 2017. https://www.daynadanger.com/photography
Tascheru Mamers, Danielle. Men standing with pile of buffalo skulls, Michigan Carbon Works, Rougeville MI, 1892. Photo from Burton Historical Collection, Detroit Public Library. December 2020.
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Event: Detroit Public Library Author Series
Event: Detroit Public Library Author Series
WHEN: Wednesday, July 13th @ 6pm
WHERE: Detroit Public Library (virtual)
WHAT: DPL Author Series
DPL welcomes author and GIS Director at Wayne State University Alex B. Hill as he presents his book Detroit in 50 Maps.
RSVP: Event Link
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