Category Archives: Features

Marie Watt, Blanket Stories: Transportation Object, Generous Ones, Trek, 2014, cast bronze, 18 x 4 x 6 ft. (5.49 x 1.22 x 1.83 m). 
Permanent installation, Tacoma Art Museum, Tacoma, Washington (artwork © Marie Watt; photograph by Benjamin Benschneider/OTTO)

“Transportation object” is the term used to classify cradleboards at the Smithsonian National Museum of the American Indian. “Generous ones” acknowledges Tacoma’s indigenous inhabitants, the Puyallup and Coast Salish People. The name Puyallup or S’Puyalupubsh means “generous and welcoming behavior to all people (friends and strangers) who enter our lands.” “Trek” reflects on slow journeys, as well as the dynamic confluence and exchange that is a part of migrating and settling. To read the stories associated with the donated blankets, see http://blanketstories.tacomaartmuseum.org, as of June 5, 2017.

In Conversation with Marie Watt: A New Coyote Tale

By Marie Watt

Marie Watt first encountered Joseph Beuys’s work as a college student studying abroad. While working on an MFA at Yale, she wrote a reflection on the artist’s I Like America and America Likes Me from the perspective of Coyote, for a course taught by the art historian Romy Golan.

Marie Watt, Blanket Stories: Transportation Object, Generous Ones, Trek, 2014, cast bronze, 18 x 4 x 6 ft. (5.49 x 1.22 x 1.83 m). 
Permanent installation, Tacoma Art Museum, Tacoma, Washington (artwork © Marie Watt; photograph by Benjamin Benschneider/OTTO)

“Transportation object” is the term used to classify cradleboards at the Smithsonian National Museum of the American Indian. “Generous ones” acknowledges Tacoma’s indigenous inhabitants, the Puyallup and Coast Salish People. The name Puyallup or S’Puyalupubsh means “generous and welcoming behavior to all people (friends and strangers) who enter our lands.” “Trek” reflects on slow journeys, as well as the dynamic confluence and exchange that is a part of migrating and settling. To read the stories associated with the donated blankets, see http://blanketstories.tacomaartmuseum.org, as of June 5, 2017.

In Conversation with Marie Watt: A New Coyote Tale

By Marie Watt

Marie Watt first encountered Joseph Beuys’s work as a college student studying abroad. While working on an MFA at Yale, she wrote a reflection on the artist’s I Like America and America Likes Me from the perspective of Coyote, for a course taught by the art historian Romy Golan.

Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016)

Candida Höfer’s Türken in Deutschland as “Counter-publicity”

By Amy A. DaPonte

Millions of Turkish immigrants settled in Germany after World War II to answer the call of politicians who needed to refresh the labor force after the war. Images of Turks at work or leisure in the parks, homes, markets, shops, and bars of 1970s West German cities populate Candida Höfer’s large, multiformat series entitled Türken in Deutschland (Turks in Germany, 1972–79).

Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016)

Candida Höfer’s Türken in Deutschland as “Counter-publicity”

By Amy A. DaPonte

Millions of Turkish immigrants settled in Germany after World War II to answer the call of politicians who needed to refresh the labor force after the war. Images of Turks at work or leisure in the parks, homes, markets, shops, and bars of 1970s West German cities populate Candida Höfer’s large, multiformat series entitled Türken in Deutschland (Turks in Germany, 1972–79).