LaurieAnnie's photos with the keyword: NativeAmerican

Display of Native American artifacts that would have been used by Powhaten's tribe in the Jamestown Experience pavilion as part of the 400th Anniversary of America festivities at the South Street Seaport in NY during 4th of July weekend, 2006. For more information about the 400th Anniversary Celebration and Godspeed Sail in New York: www.americas400thanniversary.org/godspeedsail-newyork.cfm

Plimoth Plantation is a living museum in Plymouth, Massachusetts that reconstructs the original settlement of the Plymouth Colony established by the Pilgrims. The museum was started in 1947 by Henry Hornblower II (November 5, 1917-October 23, 1985), a Boston stockbroker with childhood ties to the Plymouth area. Because none of the structures and few artifacts from the 1620s survived, Hornblower, an amateur archaeologist, established the museum as a proxy. Beginning with a "First House" exhibit where the Mayflower II is currently docked, it was expanded to today's nearby fortified village by the 1950s. The Pilgrim village is a speculative recreation of the settlement as it would have appeared about 1627. In this section of the museum, interpreters have been trained to speak, act, and dress appropriately for the period. The village approximates the assumed layout of the original, which is generally accepted to have been built 2.5 miles (4 kilometers) to the northwest, along today's Leyden Street. Alongside the settlement is a recreation of a Wampanoag homesite, where modern Native People from a variety of nations (not in period character, but in traditional dress) explain and demonstrate how the Wampanoags' ancestors lived and interacted with the settlers. The grounds also include Nye Barn, where historical breeds of livestock are kept; a crafts center where many of the objects used in the village exhibit are created; and visitors' center with indoor exhibits and educational programs. The Mayflower II, docked near Plymouth Rock, is also under the care of the museum. Text from: en.wikipedia.org/wiki/Plimoth_Plantation

Roadside architecture on Sunrise Highway in Massapequa (Long Island), NY. For more : www.lioddities.com/Roadside/lewis.htm

Roadside architecture on Sunrise Highway in Massapequa (Long Island), NY. For more : www.lioddities.com/Roadside/lewis.htm

Roadside architecture on Sunrise Highway in Massapequa (Long Island), NY. For more : www.lioddities.com/Roadside/lewis.htm

Roadside architecture on Sunrise Highway in Massapequa (Long Island), NY. For more : www.lioddities.com/Roadside/lewis.htm

Red Indian #4 (Spearman) Yoram Wolberger’s sculpture of a Native American warrior belongs to a series of monumental versions of the plastic toy figurines that the artist used to stage elaborate mock battles between cowboys and Indians during his youth. Though infused with nostalgia, Red Indian #4 also invokes the violence that permeates both popular childhood games and the history of indigenous peoples in North America. To create his sculpture, Wolberger took molds of toy figurines—objects that were themselves based on stock images of Native Americans in nineteenth-century landscape paintings of America’s wilderness. Such imagery helped to foster perceptions among non-Natives of Indians as uncivilized, hostile, and an impediment to national progress defined by westward expansion. The irregular “fins” around the edges of Wolberger’s sculpture, which mimic the seams of their mass-produced toy counterparts, symbolize the continuing proliferation of standardized images of Native Americans and the American frontier. Moreover, the lack of detail and the generic character of his warrior underscore the ways in which stereotypes deny historical circumstances and ignore the diversity of Native peoples. Artist: Yoram Wolberger, American, born Tel Aviv, Israel, 1963 Medium: 3-D digital scanning, CNC digital sculpting, reinforced fiberglass composites, Urethane paint Dates: 2008 Dimensions: 75 x 75 x 22 in. (190.5 x 190.5 x 55.9 cm) Collections: Contemporary Art Museum Location: This item is on view in Special Exhibition Gallery, 5th Floor Accession Number: 2008.71 Edition: Edition: 3 (with 2 artist proofs) Credit Line: Purchased with funds given by the Mark & Hilarie Moore Family Trust in memory of Robert H. Chaney Text from: www.brooklynmuseum.org/opencollection/objects/186400/Red_...

Red Indian #4 (Spearman) Yoram Wolberger’s sculpture of a Native American warrior belongs to a series of monumental versions of the plastic toy figurines that the artist used to stage elaborate mock battles between cowboys and Indians during his youth. Though infused with nostalgia, Red Indian #4 also invokes the violence that permeates both popular childhood games and the history of indigenous peoples in North America. To create his sculpture, Wolberger took molds of toy figurines—objects that were themselves based on stock images of Native Americans in nineteenth-century landscape paintings of America’s wilderness. Such imagery helped to foster perceptions among non-Natives of Indians as uncivilized, hostile, and an impediment to national progress defined by westward expansion. The irregular “fins” around the edges of Wolberger’s sculpture, which mimic the seams of their mass-produced toy counterparts, symbolize the continuing proliferation of standardized images of Native Americans and the American frontier. Moreover, the lack of detail and the generic character of his warrior underscore the ways in which stereotypes deny historical circumstances and ignore the diversity of Native peoples. Artist: Yoram Wolberger, American, born Tel Aviv, Israel, 1963 Medium: 3-D digital scanning, CNC digital sculpting, reinforced fiberglass composites, Urethane paint Dates: 2008 Dimensions: 75 x 75 x 22 in. (190.5 x 190.5 x 55.9 cm) Collections: Contemporary Art Museum Location: This item is on view in Special Exhibition Gallery, 5th Floor Accession Number: 2008.71 Edition: Edition: 3 (with 2 artist proofs) Credit Line: Purchased with funds given by the Mark & Hilarie Moore Family Trust in memory of Robert H. Chaney Text from: www.brooklynmuseum.org/opencollection/objects/186400/Red_...

Red Indian #4 (Spearman) Yoram Wolberger’s sculpture of a Native American warrior belongs to a series of monumental versions of the plastic toy figurines that the artist used to stage elaborate mock battles between cowboys and Indians during his youth. Though infused with nostalgia, Red Indian #4 also invokes the violence that permeates both popular childhood games and the history of indigenous peoples in North America. To create his sculpture, Wolberger took molds of toy figurines—objects that were themselves based on stock images of Native Americans in nineteenth-century landscape paintings of America’s wilderness. Such imagery helped to foster perceptions among non-Natives of Indians as uncivilized, hostile, and an impediment to national progress defined by westward expansion. The irregular “fins” around the edges of Wolberger’s sculpture, which mimic the seams of their mass-produced toy counterparts, symbolize the continuing proliferation of standardized images of Native Americans and the American frontier. Moreover, the lack of detail and the generic character of his warrior underscore the ways in which stereotypes deny historical circumstances and ignore the diversity of Native peoples. Artist: Yoram Wolberger, American, born Tel Aviv, Israel, 1963 Medium: 3-D digital scanning, CNC digital sculpting, reinforced fiberglass composites, Urethane paint Dates: 2008 Dimensions: 75 x 75 x 22 in. (190.5 x 190.5 x 55.9 cm) Collections: Contemporary Art Museum Location: This item is on view in Special Exhibition Gallery, 5th Floor Accession Number: 2008.71 Edition: Edition: 3 (with 2 artist proofs) Credit Line: Purchased with funds given by the Mark & Hilarie Moore Family Trust in memory of Robert H. Chaney Text from: www.brooklynmuseum.org/opencollection/objects/186400/Red_...

Indian Girl, or The Dawn of Christianity, 1853–56; this carving, 1855–56 Erastus Dow Palmer (American, 1817–1904) Marble 60 x 19 3/4 x 22 1/4 in. (152.4 x 50.2 x 56.5 cm) Bequest of Hamilton Fish, 1894 (94.9.2) Hamilton Fish, a United States senator and former governor of New York, gave Palmer a commission for an unspecified ideal piece. The artist set out the narrative content of his planned sculpture in a letter to Fish in late 1852. His first full-length figure would illustrate "the Dawn of Christianity Upon the Aborigines … [and would] symbolize the first impression of civilization upon the native of this country." He selected a young Native American woman to hold in her hands the props that unlock the symbolic intent of the sculpture: in her left hand, wild bird feathers have been forgotten in favor of the elevated crucifix in her right hand. The fleshy figure is semi-nude, dressed below the waist in a deerskin with a wampum border secured by a girdle. Palmer began modeling the Indian Girl in 1853. The marble was begun in 1855 and completed the following year, cut at least in part by Palmer's studio assistants Charles Calverley and Launt Thompson. Soon thereafter Palmer staged his exhibition of twelve "Palmer Marbles" in New York City, with the Indian Girl as the centerpiece of the show. There was general public approbation of this work and the sculptor's obvious literary intent for it, although one critic writing about the 1856 exhibition noted, "Whatever significance [Indian Girl] may have, its story has no bearing upon the merits of the statue as a work of Art." Nonetheless, he went on to express the predominant reaction, that "in short, it is a beautiful, original composition." Text from: www.metmuseum.org/toah/hd/ambl/ho_94.9.2.htm

Indian Girl, or The Dawn of Christianity, 1853–56; this carving, 1855–56 Erastus Dow Palmer (American, 1817–1904) Marble 60 x 19 3/4 x 22 1/4 in. (152.4 x 50.2 x 56.5 cm) Bequest of Hamilton Fish, 1894 (94.9.2) Hamilton Fish, a United States senator and former governor of New York, gave Palmer a commission for an unspecified ideal piece. The artist set out the narrative content of his planned sculpture in a letter to Fish in late 1852. His first full-length figure would illustrate "the Dawn of Christianity Upon the Aborigines … [and would] symbolize the first impression of civilization upon the native of this country." He selected a young Native American woman to hold in her hands the props that unlock the symbolic intent of the sculpture: in her left hand, wild bird feathers have been forgotten in favor of the elevated crucifix in her right hand. The fleshy figure is semi-nude, dressed below the waist in a deerskin with a wampum border secured by a girdle. Palmer began modeling the Indian Girl in 1853. The marble was begun in 1855 and completed the following year, cut at least in part by Palmer's studio assistants Charles Calverley and Launt Thompson. Soon thereafter Palmer staged his exhibition of twelve "Palmer Marbles" in New York City, with the Indian Girl as the centerpiece of the show. There was general public approbation of this work and the sculptor's obvious literary intent for it, although one critic writing about the 1856 exhibition noted, "Whatever significance [Indian Girl] may have, its story has no bearing upon the merits of the statue as a work of Art." Nonetheless, he went on to express the predominant reaction, that "in short, it is a beautiful, original composition." Text from: www.metmuseum.org/toah/hd/ambl/ho_94.9.2.htm

Indian Girl, or The Dawn of Christianity, 1853–56; this carving, 1855–56 Erastus Dow Palmer (American, 1817–1904) Marble 60 x 19 3/4 x 22 1/4 in. (152.4 x 50.2 x 56.5 cm) Bequest of Hamilton Fish, 1894 (94.9.2) Hamilton Fish, a United States senator and former governor of New York, gave Palmer a commission for an unspecified ideal piece. The artist set out the narrative content of his planned sculpture in a letter to Fish in late 1852. His first full-length figure would illustrate "the Dawn of Christianity Upon the Aborigines … [and would] symbolize the first impression of civilization upon the native of this country." He selected a young Native American woman to hold in her hands the props that unlock the symbolic intent of the sculpture: in her left hand, wild bird feathers have been forgotten in favor of the elevated crucifix in her right hand. The fleshy figure is semi-nude, dressed below the waist in a deerskin with a wampum border secured by a girdle. Palmer began modeling the Indian Girl in 1853. The marble was begun in 1855 and completed the following year, cut at least in part by Palmer's studio assistants Charles Calverley and Launt Thompson. Soon thereafter Palmer staged his exhibition of twelve "Palmer Marbles" in New York City, with the Indian Girl as the centerpiece of the show. There was general public approbation of this work and the sculptor's obvious literary intent for it, although one critic writing about the 1856 exhibition noted, "Whatever significance [Indian Girl] may have, its story has no bearing upon the merits of the statue as a work of Art." Nonetheless, he went on to express the predominant reaction, that "in short, it is a beautiful, original composition." Text from: www.metmuseum.org/toah/hd/ambl/ho_94.9.2.htm