Tuesday, May 27, 2014

Unveiling | June 2nd, 7pm at 1803 Union Street


We have about a week to go until the painting, St. Kateri Tekakwitha and the Children will be unveiled at the St. Kateri Tekakwitha Parish.  The parish will host a reception at 1803 Union Street in Schenectady on June 2nd at 7:00pm.  The event is open to the public. It would be great to see you there.

Friday, May 23, 2014

Haudenosaunee Beadwork Part III

Last week, I posted an excerpt from Leigh Graham's capstone paper on Haudenosaunee art. What follows is a third piece of Leigh's research into the history and tradition of beadwork.

Haudenosaunee Beadwork, Part III
From, "Contemporary Social Issues Through Haudenosaunee Art" by Leigh Graham
Until the 18th century, beads were mainly used to ornament personal garments. In the 1790s, Haudenosaunee bead workers began sewing designs onto pincushions, mirrors, and other small objects to be traded to non-natives. In the 1850s Haudenosaunee bead workers developed an original style of raised bead working. The beads were sown in an overlapping pattern, until the pattern was raised about a quarter of an inch off of the fabric. Haudenosaunee beadwork remained a small business until the 1880 New York State Fair where raised beadwork was exhibited to the public. By the 1890s, the beadwork had become a common New York souvenir. By this point new colors of velvet had been introduced, and glass beads came in red, blue, green, yellow, and white. Calico was used as a backing and the interior was stuffed with sawdust and natural plant fibers.[1] 
Tourists from all over the world traveled to New York to purchase a piece of “authentic artwork, straight from the Indians.”[2] The designs varied from simple patterns to motifs of flowers and animals. These nature symbols appealed to the non-Native population at the tail end of the Romantic Period. Beadwork was the one of the only traditional art forms that survived the reservation system due to continuing commercial demand.. Bead workers have been considered to be the keepers of the keepers of the culture.[3] Some were viewed as craft workers, churning out bead work in a production line, while others used beadwork to create true art, each piece unique and carefully thought out by the artist in order to carry out a concept.



[1]  Dolores Elliot. Birds and Beasts in Beads: 150 Years of Iroquois Beadwork. (Hamilton: Colgate University Press, 2011), 10.
[2] Ibid, 17.
[3] Ibid, 15.

Monday, May 19, 2014

Haudenosaunee Beadwork Part II

Last week, I posted an excerpt from Leigh Graham's capstone paper on Haudenosaunee art. What follows is a second piece of Leigh's research into the history and tradition of beadwork.

Haudenosaunee Beadwork, Part II
From, "Contemporary Social Issues Through Haudenosaunee Art" by Leigh Graham
The tradition of beadwork of North Eastern Native Americans precedes the Haudenosaunee confederacy itself. The earliest beads found in the New York region are dated to be over ten thousand years old. Prior to European contact, the Haudenosaunee created beads using bone, stones, shells, clay, and other natural resources. Using string made from animal sinew, beads were carefully sewn into jewelry, onto traditional regalia, and into belts. In the sixteenth century, the Spanish began importing Venetian glass beads to trade with southern tribes, which were traded up the coast until they reached the Haudenosaunee. In the 1600s, French explorers introduced glass beads from France.[1]
These tiny glass beads were on average less than an eight of an inch in diameter. Rather than having to carve out each individual bead, flawless glass beads could be traded for by the strand. This convenience, and their bright coloring, led to their quick adoption by the Haudenosaunee. In the 19th century glass beads from Bohemian were introduced. These remain the primary type of bead in Haudenosaunee art to this day.[2]



[1] Gordon, Beverly. “Souvenirs of Niagara Falls: The Significance of Indian Whimsies.” New York State History 57, No. 4 (1976): P.389.
[2] Dolores Elliot. Birds and Beasts in Beads: 150 Years of Iroquois Beadwork. (Hamilton: Colgate University Press, 2011), 6.

Tuesday, May 13, 2014

Haudenosaunee Beadwork Part I

One of the unique aspects of Siena's Creative Arts major is its culminating capstone project.  Every spring our students complete a project incorporating elements from their entire course of study.  I've had students create bodies of artwork for exhibition in a gallery, create graphic novels, and even engage in some environmental activism through their art.  This past term I had the pleasure of working with Leigh Graham.  Leigh spent the term researching Haudenosaunee art.  The focus of her paper was the use of treaty language and imagery in contemporary Haudenosaunee art.  Of course, to understand the contemporary work, she spent a lot of time exploring the traditions and culture of the Haudenosaunee. 

I've invited Leigh to share some of her research on this blog. What follows is an excerpt adapted from her paper. Additional excerpts will be posted in the days ahead. Since St. Kateri Tekakwitha herself was a skilled beadworker this subject, I hope will be of interest.


Mohawk Style Beadwork


Haudenosaunee Beadwork, Part I
From, "Contemporary Social Issues Through Haudenosaunee Art" by Leigh Graham
Today there are three styles of raised beadwork being practiced by Haudenosaunee bead workers. The Niagara tradition was developed around Niagara Falls, and has been used primarily by the Seneca and the Tuscarora in that region. The Mohawk tribe developed the Mohawk style. These bead workers tended to travel with medicine shows and are currently primarily working in the Montreal area. Finally, the most widespread modern style is the Thomas-Hill style, developed in the 1960s by a mother and son team, Lorena Hill and Samuel Thomas.[1]
____________
[1] Karen Ann Hoffman, interview via phonecall, March 11, 2014

Friday, May 9, 2014

Unveiling: June 2nd, 7pm at 1803 Union Street


Thanks for your patience while we have worked out a new schedule. Please join me and the community of the St. Kateri Tekakwitha parish as we unveil the painting Saint Kateri Tekakwitha and the Children on Monday, June 2nd at 7pm. The parish will host the reception at 1803 Union Street, Schenectady New York. 

My contract at Siena says that summer begins in June. I can't think of a better way to celebrate than by sharing this painting with all of you.




Monday, May 5, 2014

SUNY MFA Thesis Exhibition Reception May 9, 5-7pm



While a new date for the unveiling of St. Kateri Tekakwitha and the Children has not yet been scheduled, the unveiling of the artwork of this year's MFA candidates at the University at Albany has been. My wife, Katria Foster, has work in this show, and will soon graduate with her MFA degree in Fine Art. The exhibition runs until May 18th. Please celebrate with us at the reception on Friday, May 9th, 5 - 7pm.

Museum hours, parking information, and details about the show can be found on the Museum's website