23 research outputs found

    Manual / Issue 13 / Storage

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    Manual, a journal about art and its making. Storage. Manual 13 opens with an introduction by Fred Wilson, who confides, “You can look at all the opulence on display in a museum and begin to understand that something nefarious might be behind it. Storage, for me, is where the action is.” Museums usually make choices for viewers, their curators presenting what they think most important within a category. They can be so good at doing this that visitors sometimes don’t realize there’s anything else to see: they don’t realize the nature of the decisions behind an exhibition, and they accept that the elites have made a judgment about which shoe is the shoe to see. Visitors can learn about what’s great, but they don’t necessarily consider the process of discernment. –– Fred Wilson The RISD Museum’s thirteenth issue of Manual unpacks the idea and reality of storage—objects museums don’t put on view, works made as containers of various sorts, and more metaphorical considerations about how meanings and narratives are stored. This issue serves as a companion to the Raid the Icebox Now series of exhibitions on view at the RISD Museum through November 2020, in which nine contemporary artists and design collectives use the museum and its collections as a site for critical creative production and presentation. Raid the Icebox Now marks the 50th anniversary of Raid the Icebox 1 with Andy Warhol, held in 1970 at the RISD Museum. Softcover, 120 pages. Published Fall/Winter 2019 by the RISD Museum. Manual 13 (Storage) contributors include: Christina Alderman, Issac M. Alderman, A.H. Jerriod Avant, Hannah Carlson, Wai Yee Chiong, John Dunnigan, Maria Morris Hambourg, David Hartt, Elaine Tyler May, Claire McCardell, Denise Murrell, Ingrid Schaffner, Holly Shaffer, Tanya Sheehan, John W. Smith, Mimi Smith, Sassan Tabatabai, Allen Wexler, and Fred Wilson.https://digitalcommons.risd.edu/risdmuseum_journals/1039/thumbnail.jp

    The History of Coast Salish ‘Woolly Dogs’ Revealed by Ancient Genomics and Indigenous Knowledge

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    Ancestral Coast Salish societies in the Pacific Northwest kept long-haired “woolly” dogs that were bred and cared for over millennia. However, the dog wool-weaving tradition declined during the 19th century, and the population was lost. Here, we analyze genomic and isotopic data from a preserved woolly dog pelt, “Mutton”, collected in 1859. Mutton is the only known example of an Indigenous North American dog with dominant pre-colonial ancestry postdating the onset of settler colonialism. We identify candidate genetic variants potentially linked with their unique woolly phenotype. We integrate these data with interviews from Coast Salish Elders, Knowledge Keepers, and weavers about shared traditional knowledge and memories surrounding woolly dogs, their importance within Coast Salish societies, and how colonial policies led directly to their disappearance

    The history of Coast Salish “woolly dogs” revealed by ancient genomics and Indigenous Knowledge

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    Ancestral Coast Salish societies in the Pacific Northwest kept long-haired “woolly dogs” that were bred and cared for over millennia. However, the dog wool–weaving tradition declined during the 19th century, and the population was lost. In this study, we analyzed genomic and isotopic data from a preserved woolly dog pelt from “Mutton,” collected in 1859. Mutton is the only known example of an Indigenous North American dog with dominant precolonial ancestry postdating the onset of settler colonialism. We identified candidate genetic variants potentially linked with their distinct woolly phenotype. We integrated these data with interviews from Coast Salish Elders, Knowledge Keepers, and weavers about shared traditional knowledge and memories surrounding woolly dogs, their importance within Coast Salish societies, and how colonial policies led directly to their disappearance

    Alquimia, Ocultismo, Maçonaria: o ouro e o simbolismo hermético dos cadinhos (Séculos XVIII e XIX)

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    Este artigo apresenta a arqueologia das enigmåticas marcas impressas na base de cadinhos dos séculos XVIII e XIX recuperados nas escavaçÔes da Casa da Moeda do Rio de Janeiro, na década de 1980, e a explanação do seu significado simbólico à luz da alquimia, do ocultismo e da Maçonaria. Espraiando-se extraordinariamente mundo afora através de uma bem-sucedida estratégia de comunicação visual, a Maçonaria utilizou símbolos herméticos para a difusão de seus princípios nos mais diferentes suportes. Aparentemente estamos diante de um sinal de reconhecimento maçÎnico, o sinal exterior de uma organização oculta, só partilhado por iniciados e incompreensível para os demais, que contribuiu para difundir veladamente a doutrina maçÎnica por diferentes pontos do globo
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