Posts Tagged: Summer 2017

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.

Hélio Oiticica: To Organize Delirium

How to Organize Delirium?

By Camila Maroja

Camila Maroja reviews the exhibition and catalogue, Hélio Oiticica: To Organize Delirium.

Hélio Oiticica: To Organize Delirium

How to Organize Delirium?

By Camila Maroja

Camila Maroja reviews the exhibition and catalogue, Hélio Oiticica: To Organize Delirium.

Art Journal, Spring 2017. Cover: Postcommodity, Repellent Fence, 2015, installation view  (artwork © Postcommodity; photograph by Michael Lundgren provided by Postcommodity).

2017: Indigenous Futures

By Kate Morris and Bill Anthes

On November 15, 2016, a “National Day of Action,” demonstrators in cities from Los Angeles to New York took to the streets in support of the efforts of the Standing Rock Sioux to block construction of the Dakota Access oil pipeline (DAPL). According to tribal leaders, the presence of the pipeline constitutes a dire threat to the tribe’s water supply, and will desecrate scores of sacred, historical, and cultural sites along its intended 1,172-mile route.

Art Journal, Spring 2017. Cover: Postcommodity, Repellent Fence, 2015, installation view  (artwork © Postcommodity; photograph by Michael Lundgren provided by Postcommodity).

2017: Indigenous Futures

By Kate Morris and Bill Anthes

On November 15, 2016, a “National Day of Action,” demonstrators in cities from Los Angeles to New York took to the streets in support of the efforts of the Standing Rock Sioux to block construction of the Dakota Access oil pipeline (DAPL). According to tribal leaders, the presence of the pipeline constitutes a dire threat to the tribe’s water supply, and will desecrate scores of sacred, historical, and cultural sites along its intended 1,172-mile route.