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The Tlingit tribes' artwork is also frequently functional. Their artwork often consists of clothing and carvings, including canoes and totem poles, which are still well-recognized today. The tools generally used for carving are knives, traditionally made of shell, stone or bone, depending on the artist and what its purpose.
Kathleen Carlo was born in Tanana, Alaska, the daughter of Poldine and William "Bill" Carlo. She moved to Fairbanks at the age of five where she lives today. She started making her artwork from the Native Arts Center in the University of Alaska, Fairbanks.
The oral history series recorded responses to the global pandemic across the American art world. Conducted virtually, the Pandemic Oral History Project featured eighty-five short-form interviews with a diverse group of artists, teachers, curators, and administrators, including Erica Lord.
They had a son, Mark (also an artist), [2] [3] and a daughter, Yolande. [4] Her work is held in several museums, including the Anchorage Museum, [5] Frye Art Museum, [6] the University of Michigan Museum of Art, [7] the Blanton Museum of Art, [8] the Anchorage Museum, [9] the University of Alaska Museum of the North, [10] and the National ...
Mestizo and Métis artists whose indigenous descent is integral to their art are included, as are Siberian Yup'ik artists due to their cultural commonalities with Alaskan Yup'ik people. This list includes notable visual artists who are Inuit , Alaskan Natives , Siberian Yup'ik , American Indians , First Nations , Métis , Mestizos , and ...
Dextra Quotskuyva, Hopi ceramic artist Harvey Pratt, Cheyenne and Arapaho Tribes painter, draftsman, and sculptor, who designed the National Native American Veterans Memorial in Washington, DC. This is a list of visual artists who are Native Americans in the United States.
Belle Young Gochenauer Deacon (September 23, 1904 – 1995) was an American basketmaker and language and folklore expert. As an Alaska Native elder, she held and shared knowledge of the language and traditions of the Athabascan people.
Art historian Dawn Ades writes, "Far from being inferior, or purely decorative, crafts like textiles or ceramics, have always had the possibility of being the bearers of vital knowledge, beliefs and myths." [51] Recognizable art markets between Natives and non-Natives emerged upon contact, but the 1820–1840s were a highly prolific time.
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