An introduction to African American painters and sculptors working in the nineteenth century, including Joshua Johnson, Robert Duncanson, Grafton Tyler Brown, Edward Mitchell Bannister, Edmonia Lewis, and Henry Ossawa Tanner.
An introduction to African American painters and sculptors working in the nineteenth century, including Joshua Johnson, Robert Duncanson, Grafton Tyler Brown, Edward Mitchell Bannister, Edmonia Lewis, and Henry Ossawa Tanner.
My Great Great Grandmother Maria Christina, Great Great Grandfather George Conrad and their 'Baby Butz' are buried at Block 8, Lot 85. Their daughter and my Great Grandmother Susanna Katharina and Great Grandfather Johann Balthasar are buried at Block 13, Lot 262. Because I have family at this historic cemetery, we plan to participate in the Friends Society. Visit: http://friendsofriversidecemetery.org/
Empire State of Mind - Origins of US Shotguns and the Waterfowl Conservation ...Keith G. Tidball
A historical tour through New York State from the 1850s thru 1950s where both the American SxS shotgun industry and the waterfowl conservation movement were born.
This is the first volume in the Deserted Village series about the McIntyre iron works and the Tahawus Club in Newcomb township, Essex County, New York. This volume contains 25 19th century accounts of visitors to the site, starting with David Henderson's discovery in 1826 and ending with an 1896 ghost story by Henry van Hoevenberg of Adirondack Lodge fame. To order a bound, print copy, go to http://stores.lulu.com/desertedvillage
51bc studies, no. 78, Summer 3A Nation of Artists” .docxblondellchancy
51bc studies, no. 78, Summer 3
“A Nation of Artists”:
Alice R avenhill and the Society for
the Furtherance of British Columbia
Indian Arts and Crafts
L i Ly n n Wa n *
In 1996, Bill Reid sold a bronze sculpture to the Vancouver International Airport Authority for $3 million, making him the highest-paid Canadian artist to that date. An image of this
sculpture, The Spirit of Haida Gwaii, adorned the Canadian twenty-
dollar bill from 2004 until 2012, and the original casting of the sculpture
stands in front of the Canadian Embassy in Washington, DC. Reid’s
journey to this position as a Haida artist and Canadian icon provides
some insight into the often contradictory role of indigenous imagery in
visual representations of Canadian culture and identity. While Reid’s
work was certainly inspired by his ancestral ties, he learned technique
in a jewellery-making course at the Ryerson Institute of Technology in
Toronto, and he learned the fundamentals of Northwest Coast design
from two books, in particular. One of these books is the American
museum director Robert Bruce Inverarity’s Art of the Northwest Coast
Indians, which was published in 1950; the other is Alice Ravenhill’s
A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of
the Indian Tribes of British Columbia.1
* Research for this article was funded by the Social Sciences and Humanities Research Council
of Canada. Thanks to Shirley Tillotson and Richard Mackie for invaluable guidance and
editorial advice. And to Rebecca Moy-Behre, who taught me arts and crafts – not as an idea
but as a way of life.
1 Alice Ravenhill, A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of the
Indian Tribes of British Columbia (Victoria: British Columbia Provincial Museum, 1944).
In Tippett’s interpretation, Reid was consistently ambiguous about his identity for the first
twenty years of his career. His decision to promote himself as an “all Indian” artist did not
come about until the 1970s, after he received a Canada Council fellowship. While Reid had
Haida ancestry and ties to the Haida village of Skidegate, and his great-great-uncle, Charles
Edenshaw, as well as his grandfather, Charles Gladstone, were both Haida artists, his mother
was raised to “become more white and less Haida,” and his father was a “white man” in the
frontier of northern British Columbia in the early twentieth century. See Maria Tippett, Bill
Reid: The Making of An Indian (Toronto: Random House, 2003), 31, 25, 67.
bc studies52
The story of Alice Ravenhill, who spearheaded an arts and crafts
revival in British Columbia in the 1930s, is an important one to tell, and
not only because of her influence on Reid’s career. As Ronald Hawker
has shown, Ravenhill’s work was incorporated into the Indian education
system in both residential and day schools throughout the province.2
By the 1940s, the notion of indigenous peoples being what Ravenhill
described ...
51bc studies, no. 78, Summer 3A Nation of Artists” .docxfredharris32
51bc studies, no. 78, Summer 3
“A Nation of Artists”:
Alice R avenhill and the Society for
the Furtherance of British Columbia
Indian Arts and Crafts
L i Ly n n Wa n *
In 1996, Bill Reid sold a bronze sculpture to the Vancouver International Airport Authority for $3 million, making him the highest-paid Canadian artist to that date. An image of this
sculpture, The Spirit of Haida Gwaii, adorned the Canadian twenty-
dollar bill from 2004 until 2012, and the original casting of the sculpture
stands in front of the Canadian Embassy in Washington, DC. Reid’s
journey to this position as a Haida artist and Canadian icon provides
some insight into the often contradictory role of indigenous imagery in
visual representations of Canadian culture and identity. While Reid’s
work was certainly inspired by his ancestral ties, he learned technique
in a jewellery-making course at the Ryerson Institute of Technology in
Toronto, and he learned the fundamentals of Northwest Coast design
from two books, in particular. One of these books is the American
museum director Robert Bruce Inverarity’s Art of the Northwest Coast
Indians, which was published in 1950; the other is Alice Ravenhill’s
A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of
the Indian Tribes of British Columbia.1
* Research for this article was funded by the Social Sciences and Humanities Research Council
of Canada. Thanks to Shirley Tillotson and Richard Mackie for invaluable guidance and
editorial advice. And to Rebecca Moy-Behre, who taught me arts and crafts – not as an idea
but as a way of life.
1 Alice Ravenhill, A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of the
Indian Tribes of British Columbia (Victoria: British Columbia Provincial Museum, 1944).
In Tippett’s interpretation, Reid was consistently ambiguous about his identity for the first
twenty years of his career. His decision to promote himself as an “all Indian” artist did not
come about until the 1970s, after he received a Canada Council fellowship. While Reid had
Haida ancestry and ties to the Haida village of Skidegate, and his great-great-uncle, Charles
Edenshaw, as well as his grandfather, Charles Gladstone, were both Haida artists, his mother
was raised to “become more white and less Haida,” and his father was a “white man” in the
frontier of northern British Columbia in the early twentieth century. See Maria Tippett, Bill
Reid: The Making of An Indian (Toronto: Random House, 2003), 31, 25, 67.
bc studies52
The story of Alice Ravenhill, who spearheaded an arts and crafts
revival in British Columbia in the 1930s, is an important one to tell, and
not only because of her influence on Reid’s career. As Ronald Hawker
has shown, Ravenhill’s work was incorporated into the Indian education
system in both residential and day schools throughout the province.2
By the 1940s, the notion of indigenous peoples being what Ravenhill
described .
Making the Argument for Learning Science in Informal Environments - Math in z...K L
Making the Argument for Learning Science in Informal Environments
Level: Intermediate
Demonstrating evidence of learning is becoming critical for museums in securing funding. Yet most evaluation measures do not reflect what goes on in informal environments. The National Academy’s recently summarized research on informal science learning, helping museum professionals make the case for programs. We will review that report (Martin, Arizona Science Center, was a co-author); findings from a national staff development project headed by the Phoenix Zoo (Hebert); and, findings from a visitor survey about conservation learning, conducted at the Arizona-Sonora Desert Museum (Colodner).
The report is important because it broadens the definition of science learning to include motivation, interest, and identity. The Phoenix Zoo project looked at how different institutions supported staff to integrate mathematics into interpretation and how differences in motivation for participating in training influenced staff learning. The Desert Museum conducted a survey on learning about conservation through interactions with docents, looking at changes in visitor knowledge and intentions. Their results allowed them to reflect on the types of interactions they are facilitating.
Discussion will highlight whether the ideas apply to learning in other kinds of museums. Naylor (Arizona Department of Education) represents the stakeholder voice, justifying field trips and other informal programs as valid educational experiences.
Chair: Mary Lou Naylor, Education Program Specialist, Arizona Department of Education
Panelists: Laura Martin, Director of Science Interpretation, Arizona Science Center; Gabrielle Hebert, Director of Visitor Experiences, The Phoenix Zoo; Debra Colodner, Director of Education, Arizona Sonora Desert Museum
Imagination, Collaboration & Recession-Era Financing: Out-of-the-Box Centenni...K L
The recession is in full swing with its characteristic budget cuts and museum downsizing; with its discretionary spending spent; with its the directional arrow in all forecasts happily pointing in the wrong direction – UP for joblessness, UP for bankruptcy, and UP for unemployment... in essence the “state of our state” in jeopardy, so... who’s thinking about our 100th birthday party? We are!
Working on the assumption that the sum is greater than the parts, two Arizona counties are working on a regional scale to optimize their respective resources.
Join Cochise County team players to learn just how far we, the museum community in Cochise County, work together with City & County governments, Sheriff’s departments and military forts, history buffs and writers, college professionals and business owners in using our imagination, knowledge, and resources to replace that budget long lost down the proverbial rabbit hole! Cochise’s “History in the Park” is a traveling, out-door exhibition of life-sized figures (with an accompanying publication) whose collective stories created our history.
Join Yavapai County team players to learn how they engage their communities in developing “cachets”, or first-day covers designed by school children, to coincide with the release of the Arizona State Centennial stamp in 2012 and individualized postal cancellation stamp; learn how we collaborated on a book about Yavapai County communities and their history, trail maps, riparian areas, art, and events.
Co-Chairs: Carrie Gustavson, Bisbee Mining & Historical Museum, Director Denise Lundin, Cochise County, Clerk of the Superior Court
Panelists: Janis Ann Sterling, Chairman, Yavapai County State Centennial Committee
For more on the Museum Association of Arizona Conference (including other presentations), see http://www.azmuseums.org/annual-meeting/2010-annual-meeting-presentations
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
A Survey of Techniques for Maximizing LLM Performance.pptx
Do You Know Mesa? Buckhorn Baths
1. Hidden Mesa: Rediscovering the West
Art from the Buckhorn Baths Collection
Alice and Ted Sliger’s Buckhorn Baths and Wildlife Museum is important to the history of Mesa for many reasons.
• The Baths, a 10-acre property at Main Street and Recker Road, is the best-preserved hot mineral-water springs resort in Arizona. In its
heyday, the Buckhorn’s bathhouse contained twenty-five hot tubs, several massage rooms, a café, and a beauty parlor.
• The Baths also attracted numbers of well-known visitors to Mesa who came for their health.
• Amateur taxidermist Ted Sliger filled its public rooms, floor to ceiling, with Arizona-wildlife specimens.
• Most famously, The Baths played a huge role in attracting the Cactus League to Arizona. In 1947 the New York Giants made it its spring
training base camp so players could soak their aching bodies in the hot mineral water, and other teams soon followed.
• Alice and Ted Sliger also collected the work of Western artists—most notably that of George Frederick and Arnold Krug, both of whom
were living at the Buckhorn Baths up to the time of their deaths. Hidden Mesa offers a representative, never-before-exhibited selection
of their artwork.
2. Alice Annette O’Barr Sliger
Alice Annette O’Barr Sliger lived her whole long and eventful life in Mesa, attending Old
Alma School, Mesa High School, and working her way through Tempe State Teacher’s
College, later ASU. In the late 1920s, she taught all eight grades at a school in Sasabe, AZ.
When Alice returned to Mesa, she taught at Old Alma School from 1930 to 1935.
Alice married Ted Sliger in 1935, and in 1939 their Buckhorn Baths adventure began with
their discovery of the hot mineral springs. The Sligers had two children, Marilyn Alice
and Theodore Newton. Active in her church, Alice was also a founding member of the
Soroptimist International of Mesa Club, and, all through her life, she admired and nurtured
artists. Alice O’Barr Sliger died at the age of 103 on November 9, 2010.
Ted Sliger and Alice Annette O’Barr Sliger
Photo courtesy of the Theodore W. and Alice O’Barr Sliger Collection
5. “The Tiger”
Teddy Sliger 0.1875 in
George Frederick
Oil on board 1960
Theodore W. and Alice O’Barr Sliger
Collection
6. Theodore William “Ted” Sliger
Theodore William “Ted” Sliger was born in Texas, but was
raised in New Mexico. He moved with his family to Arizona
in1923 where he homesteaded and built the Desert Wells
gas station on the Apache Trail in 1926 that included a small
taxidermist business. In 1935 Ted and Alice moved to the
site of what was to become the Buckhorn Baths and Wildlife
Museum. Ted Sliger also ran a Greyhound bus depot at
Buckhorn and was postmaster of the Buckhorn Post Office.
Listed in “Who’s who in Arizona,” Ted was a member of both
the Mesa and Phoenix Chambers of Commerce and one of
the founders of the Mesa Host Association. Ted Sliger died on
November 9, 1984.
New York Giants players Davey Williams and Hoyt Wilhelm, Alice Sliger, Ted Sliger,
and Giants Manager Bill Rigney, February 1957.
Photo courtesy of the Theodore W. and Alice O’Barr Sliger Collection
7. Theodore “Ted” W. Sliger
George Frederick
Oil on board 1961
Theodore W. and Alice O’Barr Sliger
Collection
8. Ted Sliger’s braided leather lariat,
spurs and boots
Photograph: Ted and Alice Sliger
Theodore W. and Alice O’Barr Sliger
Collection
9. Arnold Otto Krug
Arnold Otto Krug Courtesy of JoAnn King
Arnold Otto Krug was born June 7, 1896, in Forest, Fond du Lac, Wisconsin. Krug’s 1917
WWI draft-registration card gives his residence as Forest, Wisconsin, and describes him
as blue-eyed and brown-haired. In 1920, he was still living at home with his parents and
siblings, listed in the census as a laborer. In 1930 Arnold Krug lived in a Milwaukee boarding
house, working as an auto mechanic. Shortly afterward, he came to Arizona to follow his
passion for painting. A self-taught, but disciplined artist, he would go into the desert at
the same time every day to paint, and the Superstition Mountain range became one of his
favorite subjects. At various times from 1927 to 1942, he lived in Arizona and California, but
was living at the Buckhorn Baths at the time of his death on May 8, 1942. Arnold Otto Krug
is buried at the Rienzi cemetery in Fond Du Lac, Wisconsin.
10. Untitled
View of the Superstition
Mountains
Arnold Krug
Oil on canvas c. 1935
Theodore W. and Alice
O’Barr Sliger Collection
11. Untitled
View of the Superstition Mountains
Arnold Krug
Oil on canvas c. 1935
Theodore W. and Alice O’Barr Sliger
Collection
13. Untitled
View of the Superstition
Mountains
Arnold Krug
Oil on canvas c. 1935
Theodore W. and Alice
O’Barr Sliger Collection
14. George “Smoke Tree” Frederick
George “Smoke Tree” Frederick was born
in Lee County, Iowa, on 9 May 1889. At the
age of three, he moved with his parents to
Europe, attending the Royal Academy of Art
in Munich where he studied interior design.
While growing up in Germany, Frederick
often read about the American West and
dreamed of someday becoming a cowboy.
In 1911, Frederick returned to the United
States and traveled west, eventually arriving
in Texas where he discovered that being a
cowhand wasn’t as exciting as it had been
described in books and magazines, and soon
began painting the people and scenery of
the West instead of punching cattle. George
Frederick, a colorful character, often wearing
enormous sombreros and brightly colored
checked shirts, married Alan Yantis, a writer
of popular Western pulp fiction, in 1934.
Frederick primarily painted landscapes
and portraits of Native Americans and
local cowboys. He was given the nickname
“Smoke Tree,” later shortened to “Smokey,”
because smoke trees, common to the desert
washes of the Southwest, appeared in so
many of his landscapes. The Fredericks
moved to Arizona around 1941, living
in Tucson, in Mesa near the Superstition
Mountains, and in Wickenburg. In the mid
1950s George Frederick was the “portraitist
in residence” at the Grand Lodge on the
north rim of the Grand Canyon. George
Frederick was living at the Buckhorn Baths at
time of his death in September 1964.
15. Left: George Frederick’s paint kit
Theodore W. and Alice O’Barr Sliger Collection
Center: George and Amee Olivia “Alan” Yantis Frederick
Photo courtesy of L. Tom Perry Special Colleciton,
Brigham Young University
Top: George Frederick at the Grand Lodge, North
Rim, Grand Canyon 1953
Photo courtesy of Special Collections, Sherratt
Library, Southern Utah University
20. “Uncle Billie Crosby”
George Frederick
Oil on board February 25, 1953
Theodore W. and Alice O’Barr
Sliger Collection
Billie Crosby was the grandson of
Jacob Hamblin:
In the spring of 1879 Jacob
Hamblin, the Mormon scout and
emissary to the Indian Nations, took
up residence in the Milligan Fort
(Springerville area) and was
appointed to preside over the LDS in
the Round Valley area. His stay was
short-lived, however, when personal
matters called him away the
following winter.
Arizona Capitol Times, Dec. 9, 1994
23. “On Apache Trail – Arizona Superstition
Afternoon”
George Frederick
Watercolor 1949
Theodore W. and Alice O’Barr Sliger
Collection
24. “Early Morning – Vermillion Cliffs
Northern Arizona”
George Frederick
Watercolor 1952
Theodore W. and Alice O’Barr
Sliger Collection
25. “Land of the Giant Cactus (AZ)”
George Frederick
Watercolor 1950
Theodore W. and Alice O’Barr Sliger
Collection
26. Sketches from Life Nature
George Frederick and his wife Alan Yantis loved Mexico. This 1940 sketchbook,
entitled by Frederick “Sketches from Life Nature,” is written bilingually in English
and Spanish. Its nearly 200 loose-leaf pages contain observations on Mexican life
and culture, a travelogue recounting their adventures in Mexico, biographies and
comments on Mexican artists of note, philosophical comments about art and art
mediums--and even Spanish language lessons.
The Fredericks seem to have traveled extensively in Mexico over the years—judging
by a section in the sketchbook discussing the colorful traditional Mexican clothing
and lamenting the intrusion of modern dress—and clearly related to the country
and its people. The sketchbook text was probably hand-written by Alan Yantis
Frederick with illustrations by George Frederick.
28. Buckhorn Mineral Baths and Wildlife Museum
The Mesa Preservation Foundation wishes to preserve and reopen
the Buckhorn Baths and its restoration was the second most popular
idea posted on the City of Mesa’s idea-gathering website. Everyone
who experiences the Baths hopes that its significance to Arizona will
be recognized and rewarded by a rebirth of the Buckhorn Mineral
Baths and Wildlife Museum.
The State of Arizona has recognized the Mesa Preservation
Foundation as a nonprofit corporation. To learn more about the fate
of the Buckhorn Mineral Baths and Wildlife Museum contact:
Mesa Preservation Foundation:
P.O. Box 539
Mesa, AZ 85211-0539
Phone: 480.967.4729
Email: mesapreservation@gmail.com
Website: www.mesapreservationfoundation.org/