Podcast appearances and mentions of Frederic Remington

Easterners wanted stories and pictures of the old west, but cameras were heavy and difficult to use. William Jackson took thousands of pictures, most important, of Yellowstone. Soloman Butcher took pictures of the pioneers. Albert Bierstadt's paintings were in museums. Frederic Remington and Charles M. Russell became the most famous painters and sculptors of the west, because of detail and they focused on the people and their way of life. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Guest: Louis S. Warren is the W Turrentine Jackson Professor of Western U.S. History at U.C. Davis. He is the author of the book author of Buffalo Bill's America, American Environmental History, and most recently,  God's Red Son: The Ghost Dance Religion and the Making of Modern America. Feature image: The Ghost Dance of 1889–1891, depicting the Oglala at Pine Ridge Indian Reservation in South Dakota, by Frederic Remington in 1890 on Wikimedia Commons. The post A History of the Ghost Dance Religious Movement appeared first on KPFA.

On this episode of the American Art Collective we get a First Look into the upcoming May issue of Western Art Collector! Michael Clawson sits down with us and talks about the cover artist Gary Ernest Smith who is also featured in the magazine. Other features include stories on Frederic Remington and the Fechin House. We also cover the state of the art in New Mexico and the collector's focus on the art of the horse. Plus we tease the shows and events you won't want to miss and so much more! This episode is sponsored by Western Art Collector magazine.

Joining us from across the country, in Ogdensburg, New York, is Laura Desmond, curator at the Frederic Remington Art Museum. The museum, which celebrates one of the most famous Western painters and sculptors in the country, is celebrating its centennial in 2024. Laura talks about Remington, the role of the museum, noteworthy pieces in the collection and much more. This episode is brought to you by Western Art Collector. Learn more at westernartcollector.com.

In copertina: Frederic Remington "Raduno dei cacciatori di pellicce", 1904 --- Send in a voice message: https://podcasters.spotify.com/pod/show/stefano-dambrosio5/message

Welcome to the Instant Trivia podcast episode 951, where we ask the best trivia on the Internet. Round 1. Category: playwrights 1: Dustin Hoffman reincarnated his "Salesman" on Broadway in 1984. Arthur Miller. 2: Wrote "The Man in the Glass Booth" but acted in "Jaws" and "The Deep". Robert Shaw. 3: Robert Lopez, Trey Parker and Matt Stone won the Tony for Best Book of a Musical for penning this show. The Book of Mormon. 4: Won Tonys for "Torch Song Trilogy" and "La Cage aux Folles". Harvey Fierstein. 5: "You Never Can Tell", the initial literary work of this "Pygmalion" author, earned him less than 10 shillings a year. George Bernard Shaw. Round 2. Category: howdy, "buster" 1: This video chain began in Dallas in 1985; it now has more than 4,000 U.S. stores and 2,000 overseas. Blockbuster. 2: Who ya gonna call? Well, in this 1984 film it was Bill Murray and his cohorts. Ghostbusters. 3: This commercial spokeskid of the 1950s lived in a shoe with his dog Tige, who lived there too. Buster Brown. 4: In 1964 Russell Long and other senators led one that lasted a record 74 days against a civil rights bill. a filibuster. 5: This 1895 sculpture was the first of 25 Western art bronzes by Frederic Remington. Bronco Buster. Round 3. Category: best picture oscar winners 1: In this 1977 Woody Allen-Diane Keaton film, author Truman Capote had an uncredited bit as a Truman Capote look-alike. Annie Hall. 2: In this film, Clint Eastwood says, "Hell of a thing, killin' a man. Ya take away all he's got and all he's ever gonna have". Unforgiven. 3: This Best Picture winner for 2006 is Martin Scorsese's highest-grossing film to date. The Departed. 4: Mel Gibson won Oscars for producing and directing this 1995 Best Picture. Braveheart. 5: Temperance groups and the liquor industry both pleaded with Paramount not to release this 1945 Oscar winner. The Lost Weekend. Round 4. Category: nice "ab"s 1: To give up the throne. abdicate. 2: A not so nice collection of pus caused by infection. an abscess. 3: Military term for a 180. an about face. 4: Servile or wretched, like poverty. abject. 5: A summary of a document or text. an abridgment (or an abstract). Round 5. Category: comparing 1: A math axiom says a line is this superlative distance between 2 points on a flat surface. shortest. 2: This irregular comparative describes a wise, experienced "statesman". elder. 3: Superlative in the Queen's question to her mirror in "Snow White and the Seven Dwarfs". fairest. 4: Boxer Bob Fitzsimmons gets credit for the line that contains "bigger" and this other comparative. harder. 5: Toni Morrison titled a novel "The" this superlative "Eye". Bluest. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Frederic Remington went down in history as a masterful artist, historian, and storyteller chronicling the lifestyle of the American cowboy. He is revered and beloved by many but that doesn't mean that he was without fault. In this episode, we examine and dissect his faulty assessment of Florida cowhunters and crackers in general.

I had Andrew Walker on today and he's the Executive Director of the Amon Carter Museum of American Art. Andrew was kind enough to fly out to Tucson to do this in person at my studio and wow, it was really worth it for me and I think for him as well. Also, the podcast went for 2 whole hours so we're going to make this into a two-part podcast.The thing that's unique about this podcast is that we really got into what it means to be a museum. The things that you have to look out for in the future and how things are changing, both culturally and from the way you collect. It seems to me that the Amon Carter is really on top of this and doing some amazing exhibitions. They've got one that focuses on indigenous photography, as well as how they approach the way that they see their community in Fort Worth, but also as a national kind of exhibit, a museum that really sets itself apart from others. One of the things that  I didn't know is they have probably (if not close to) the largest collection of photography in the country right up there with Getty, maybe more than Getty. So that kind of thing comes out when you get the chance to spend time and really understand what an institution does and more importantly, what I'm interested in is how Andrew got there and why, and his role as an executive director of a major Western museum. Just how do you get that right? How do you end up in that position?Andrew has a unique and interesting story, as so many of the people that I get the opportunity to talk to have.  Andrew didn't disappoint.  Andrew Walker part two on Art Dealer Diaries Podcast.

I had Andrew Walker on today and he's the Executive Director of the Amon Carter Museum of American Art. Andrew was kind enough to fly out to Tucson to do this in person at my studio and wow, it was really worth it for me and I think for him as well. Also, the podcast went for 2 whole hours so we're going to make this into a two-part podcast.The thing that's unique about this podcast is that we really got into what it means to be a museum. The things that you have to look out for in the future and how things are changing, both culturally and from the way you collect. It seems to me that the Amon Carter is really on top of this and doing some amazing exhibitions. They've got one that focuses on indigenous photography, as well as how they approach the way that they see their community in Fort Worth, but also as a national kind of exhibit, a museum that really sets itself apart from others. One of the things that  I didn't know is they have probably (if not close to) the largest collection of photography in the country right up there with Getty, maybe more than Getty. So that kind of thing comes out when you get the chance to spend time and really understand what an institution does and more importantly, what I'm interested in is how Andrew got there and why, and his role as an executive director of a major Western museum. Just how do you get that right? How do you end up in that position?Andrew has a unique and interesting story, as so many of the people that I get the opportunity to talk to have.  Andrew didn't disappoint.  Andrew Walker part one on Art Dealer Diaries Podcast.

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Kim talks with Saronik about neurasthenia. A disease that no longer exists, neurasthenia was a nineteenth century American epidemic of energy depletion. Thinking about this diagnosis can help us understand the social functions of medical knowledge, and how that knowledge changes over time. In the episode Kim discusses two nineteenth-century medical texts: American Nervousness: It's Causes and Consequences (New York: Putnam, 1881) by George Miller Beard, which popularized the diagnosis, and Fat and Blood: And How to Make Them (Philadelphia: J.B. Lippincott & Co., 1877), by S. Weir Mitchell, which popularized the “rest cure” treatment. She also references three scholarly texts: Tom Lutz's American Nervousness, 1903: An Anecdotal History (Cornell UP, 1992); Carolyn Tomas de la Pena's The Body Electric: How Strange Machines Built the Modern American (NYU Press, 2003); and Anson Rabinbach's The Human Motor: Energy, Fatigue, and the Origins of Modernity (UC Press, 1992). Kim Adams is one of the co-hosts of High Theory. She works as a postdoctoral fellow at the Pennsylvania State University Humanities Institute, where she is writing a book about electricity and the body in American medicine and literature. She also runs a working group on pain management as a cultural process, called Politics of the Prescription Pad. She lives in Rhode Island and has a very large dog named Tag. This week's image is a 1907 painting titled “On the Southern Plain” by Frederic Remington. The painting shows soldiers on horseback in the American West. Remington was diagnosed with neurasthenia and treated with the “west cure” (discussed in the episode) by S. Weir Mitchell himself. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Following his victory in the World Wide Kitsch Competition 2021, Shaun Roberts was invited to the Cave of Apelles for an interview about his award-winning portrait "The Messenger". He shares stories from his teaching experience at a Texan university and his unconventional sources of influence, such as the Dutch genre painter Adrian Brouwer, as well as the American "Cowboy" painter Frederic Remington. Studying with Odd Nerdrum, Roberts also breaks down the most important things he is currently learning. Chapter markers: 01:20 "Hero's Journey" to Norway 06:40 Roberts' prize-winning self-portrait 14:00 Three approaches to painting 18.06 Discovering painting skills by accident 22:10 Positive learning experiences at universities 28:34 Teaching at Steven F. Austin State University 34:35 Teaching modernist students 36:30 Including storytelling 40:22 Positive colleagues & gallery 45:30 The World Wide Kitsch Competition 50:15 Dissolved painting technique and movement 56:55 Remington, Brouwer and Rembrandt 1:01:25 Armadillo-Brouwer connection 1:04:21 Brouwer's tension 1:08:14 Studying with Odd Nerdrum This episode was filmed and edited by Bork Nerdrum. The centerpiece was Shaun Roberts' self-portrait "The Messenger". SHOUTOUT to our TOP SPONSORS! Børge Moe Matthias Proy Eivind Josten Fergus Ryan Dean Anthony Anders Berge Christensen Erik Lasky Herman Borge Fernando Ramirez Iver Ukkestad Jack Entz Warner Jared Fountain Jon Harald Aspheim Marion Bu-Pedersen Maurice Robbins Michael Irish Misty DeLaine Richard Barrett Stacey Evangelista Trym Jordahl Yngve Hellan Would you like to get premium access? Become a patron: https://patreon.com/caveofapelles/ Subscribe to our newsletter. It is the only way to make sure that you receive content from us on a regular basis: https://bit.ly/2L8qCNn Check out our other channels: https://www.youtube.com/c/SchoolofApelles https://www.youtube.com/c/CultureWarsNow Podcast available on SoundCloud, iTunes, and Spotify: https://soundcloud.com/caveofapelles https://spoti.fi/2AVDkcT https://apple.co/2QAcXD6 Visit our facebook page: https://www.facebook.com/caveofapelles Rumble: https://rumble.com/user/CaveOfApelles For inquiries — talk@caveofapelles.com

What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/   Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Jonathan Wahl, Director of the Jewelry Center of the 92nd Street Y in New York City. The program is the largest of its kind in the country. In addition to his life in jewelry, Jonathan is an award-winning artist whose work is in the permanent collections of prestigious museums. Welcome back.    When do you have time to work on your jewelry?    Jonathan: I'm here Monday through Wednesday in the studio here. Then I'm in my studio the rest of the time, so Thursday, Friday, Saturdays and Sundays.   Sharon: Your home studio or a studio at the Y?   Jonathan: No, it's not here. It's in Brooklyn. I wouldn't be able to work here. People would be finding me. No, I maintain a studio in Brooklyn. That's where I've done all my work basically for the past 25 years.   Sharon: Tell us about your work. I was reading about you. You have a whole series of different things, drawings, collections.   Jonathan: Lest I forget, I have had a jewelry line. In 2005—and I'll get to the larger bodies of work—when I moved to New York, my work was primarily sculpture. It was the tinware. It became the oversize tinware. I got a Tiffany fellowship which gave me a nice chunk of cash, and I made a series of work based on Frederic Remington, a series called Cowboys and Unicorns. I made a series of tasseled heads for this exhibition. It took about a year. There were many bodies of work, like Aztec Astronauts, which is inspired by Jared Diamond's book, “Guns, Germs, and Steel.” There's no jewelry in it at all, but it was interesting. I had a wonderful Foundation for the Arts fellowship for Cowboys and Unicorns. I had this Tiffany fellowship. I thought I was hot to trot. I was an artist, but because I've also been very self-directed in my work, I have made choices on my own, and I certainly hadn't thought of the larger picture, like, “Who am I marketing to?”    At one point, I felt like maybe I should do something different. I saw these people putting jewelry lines together and I thought, “Well, let me try that. I'm going to throw together a jewelry line.” I did put together a jewelry line in 2004 and 2005, and it got a lot of press. Barneys called and Bergdorf called. It was exciting and, true to myself, I looked at this opportunity and thought, “What they're asking for sounds like I'm going to have to start a real business.” Between my role here as Director of the Jewelry Center and my studio practice, I wasn't sure I wanted to run a full-time jewelry business.    What this position here affords me is the time and space to work in my studio on what I want to make. I thought that if I put together a jewelry line, that was a different kind of hustle, and a hustle that was going to take over. As a consequence, I declined Barneys and Bergdorf. I did sell my line at De Vera in New York, which is a much more boutique, gorgeous store that has since moved. Interestingly enough, launching the jewelry line brought me to drawing. People who knew me and knew my work as a sculptor, when I said I'd launched a jewelry line, to put it politely, they looked confused. I've said this in many interviews: a jeweler in the art world, people don't really get. An artist who makes jewelry is different than a jeweler who makes art, may I say.   Sharon: That's interesting.    Jonathan: I think that has changed. It has changed to some extent, but it's different. It's a one-way street. A potter and a sculptor, interesting, particularly with clay being very hot right now. A painter and a bartender makes sense; people get that. Anyway, I found this look of confusion quite perplexing. I started these large drawings, renderings of jet jewelry. I was working on a series of drawings about jewelry, about history, about my love for history, and I happened upon jet jewelry. I thought it was so out of the ordinary: monochromatic, at times really epoch-shifting in terms of what it was. So, I decided to start drawing these objects to take them out of the realm of jewelry and present them to the viewer as an object. Rendered large, they took on a completely different identity. It paralleled my experience of having this conversation with people saying I'm a jeweler and a sculptor. I thought, “If I present them with these drawings that are straight-up portraits of jewelry, maybe they'll think differently about what those edges are about or what those lines are, what those determinations are.”   Sharon: That's interesting about people not getting a jeweler as a painter or an artist. That's what you said, right?    Jonathan: I wish I could deny it. Again, this is 20 or 15 or 17 years ago; I can't remember. Things have changed a lot in the art world. I'll probably get in trouble for this; I don't know if any of the Whitney curators are going to hear this, but the Whitney, one of my favorite museums, had an exhibition of artists who employ craft, I think. It was all artists who made objects or used material that represented craft in some way. It was such an artist's use of craft, and done in a way that was pure aesthetics and abstraction, which was such a different experience with respect to the materials that I think a craftsperson has. I also find that curators are really only looking at artists who use craft techniques or craft materials from this artistic, old-school, may I say modernist perspective.    I truly mean that because it was fascinating to see how a fine art museum presented craft in this way. To me, it reiterated how these fields are viewed, certainly from each corner of the art world. I found the show at the Whitney really underwhelming in terms of how they represented craft. Just because you use yarn doesn't mean it's craft. That's the takeaway. I think that represents this weird, one-way street or one-way mirror of how crafts and art are viewed together. Martin Puryear was not in that show.   Sharon: Pardon?   Jonathan: Martin Puryear, whose work definitely involves craftsmanship. He wasn't in that exhibition. There were people who I thought could have been in that exhibition to represent how craft is employed in the fine art world and would have made the statement better.   Sharon: So, what is craft? It always seems to me the question that's has no answer. How do you know, when you're looking at something, whether it's craft or fine art or jewelry made with yarn? What's the difference? Not difference, but how do you separate it?   Jonathan: I think it's many times subjective. To that point, the curators at the Whitney could have put whatever they wanted and called it craft, but I think when you see craft, you know it. I think you really do. I think their lines can be crossed. I think there's craft that's art, and I think there's art that's craft, but for myself, I know it when I see it.    I think it also depends on how you employ the materials and for what end. I've been thinking about this recently. Craft was never really thought of as espousing an agenda other than its function. That was how it started, but now in some ways, the art world is looking at craft that explores itself beyond its function. It's making social commentary and is actually functioning in the way fine art would have explained itself, as material subjugated to the thought process of the artist. Craftsmen can be both, explaining or using functional materiality. They can also use a fine arts strategy, if they're making a commentary or going beyond the object's functionality into a realm that makes you think about the object differently. That is more of a fine arts strategy. So, it gets really sticky.   Sharon: It's one of those questions. I'm thinking about craft in jewelry. I'm thinking about when you were in camp, the lanyards you would make, the necklaces you'd make with plastics. I guess you could call it a type of craft jewelry.   Jonathan: For sure. I don't think craftsmen should be offended by lanyard jewelry. That's how you start. It's weaving; it's one of the most basic weaving skills. Voice that history. Those are old skills. That's how we built civilization. Believe in that. We wouldn't be here without those skills. Don't be afraid of that. I think my own jewelry journey, if you will, has been influenced by these experiences. I love jewelry. I love objects. I love technique. I love skill. I'm so in awe of people who can make, who can really fabricate something. It takes skill. It takes work. It takes focus.    I love jewelry. I wear one ring and a watch. I change my ring up whenever I feel like that. They're mostly rings I've made, but they're a specific type of ring. Apart from my look in the 80s, I'm a relatively conservative-looking guy, so I wear jewelry that reflects the aesthetics of myself. It tends to be kind of traditional, so I have no problem with great jewelry that has a great stone, that's made well, that some would consider traditional. I'm O.K. with that. You know what? Wear whatever kind of jewelry makes you feel right.    I love art jewelry and I think it's important in pushing the boundaries or the materiality of the field. I'm happy to see and support that. I love going to SCHMUCK. I'm always blown away when I see what's happening in the world of contemporary jewelry. I think contemporary or art jewelry, the field is also changing. I have to say everything's moving more towards the middle in a way, whether it's contemporary jewelry, studio jewelry or art jewelry. When I look at work today, it's all moving a little bit towards the middle, which is fascinating. But when it comes to jewelry, I don't have any problem with good jewelry, period. I love good jewelry.   Sharon: Big stones are nice.    Jonathan: I'm just saying good jewelry, however you classify jewelry, I like jewelry.   Sharon: Why are things moving towards the middle? Why do you think that? Is that part of the ethos of the country, or that people don't want to be extreme? They don't want purple hair anymore?   Jonathan: With all that being said, the generation that's coming up now wants to have purple hair, absolutely. I look at the trends that are going on right now, and I think of myself in art school in the high 80s with my hoop earrings and my dyed red hair and my capri pants and my corny shoes and my vests and yada, yada, yada. I look at this younger generation thinking, “Wow, it's coming back around again, interesting.” Maybe I talk out of two sides of my mouth, but I think in general, the bulk of those fields are moving a little bit closer together. I think there's an appreciation in the art jewelry world for techniques and processes that might not have been so accepted 10 or 20 years ago. I think there's an appreciation all around. I think I see contemporary jewelry making gestures that might have only happened in the art jewelry world 10 or 20 years ago.    Sharon: You also talk about the rift between fine art and jewelry. Can you talk a little bit about that?   Jonathan: I've got to say, I've met some great fine art collectors in New York and their jewelry has really stunk. I find it really funny when I see people who've got a great dress on and have a great art collection and mundane jewelry. It's the last thing that people think about sometimes. Although, the one person I'll say that always bucks the trend is Lindsay Pollock, who has great jewelry and has great art and knows great art.   Sharon: Who? I'm sorry; I didn't hear.   Jonathan: Lindsay Pollock, who used to be an editor at Art Forum. Now she also works for the Whitney Museum of Art, I think, as Director of Communications. I'm not sure, but she's a wonderful collector.    Sharon: And she has great jewelry.   Jonathan: Yes, and she knows the art world really well. Your question; please repeat it.   Sharon: The rift between fine art and jewelry. Is there a rift?   Jonathan: There's a difference. I think for so long people were trying to justify themselves, so people got defensive. Now people are starting to own what they do and who they are without the defense: “I'm not an artist, I'm a craftsperson” or “I'm a craftsperson, not an artist.” I think there's less apprehension about that now in terms of owning those fields. This is a conversation had by many people, but when modernism took its toll on craft, it stepped up its identity in many ways. I think since then, craftsmen and jewelers have been trying to figure out their way back to be on par with the rest of the arts. I think for a long time, because it wasn't modern art or contemporary art, there was a real apprehension about how we define artwork.   I think about how jewelry was, for a long time, just photographed on a white background so it reads as an object, like you're presenting it like a little sculpture. For many years, that's how it was presented. I find that representative of how we explain the work we were making. When you saw it, you generally saw it sitting on nothing except white, in a void, outside of any wearability or reference to the person, which I get. But when you think about that, for me, it has resonance. I also think that's kind of who we are and what we do. I think that's changing to some extent, but the art world and the craft world have been trying to figure out the relationship for a while.   Sharon: Do you make jewelry now?   Jonathan: I do. I just made a ring for myself with a beautiful piece of lapis that I came across. It's very plain and modernist. I had an old necklace from my former landlord who passed away and left it to me. I melted down this necklace, I milled the jewelry, I rolled down the sheet and I made a half-round wire that I put through the mill again so it was more like a trapezoid and set it again. Man, I was a jeweler for a day. I love good jewelry, and I like to represent.   Sharon: You like to represent? What do you mean?   Jonathan: I like to represent the field with a good piece of jewelry.   Sharon: Wow! You made the sheet metal and then you rolled your wire. The first time I saw somebody rolling wire, I thought, “You could buy wire. Why would anybody roll it?”   Jonathan: One great thing is I didn't have to buy new gold. Another great thing is I'm recycling the gold. I recycle, recycle, recycle whenever possible. I worked it all the way down, but I do not have a jewelry line. I rarely make jewelry on commission. Most of my studio practice is focused in other ways, although as I've been drawing for the past 12 years, I recently picked up my tin shears again. I have actually been making more tinwork, which is also reflective of our current state of politics and our country again. It's been fascinating to work in metal again, so stay tuned.    Sharon: How does it reflect where we are as a country or politically?    Jonathan: I'm making tinware again, and I think a lot of what's in question right now in our country is what is traditional? Who are Americans? There's a lot of questioning about do you fit, do you belong, what are those parameters, how are you judged as an American or not as an American. The painted tin I'm making right now is so understood as a traditional object and a traditional way of making. Mixing and presenting that work within this very traditional material and history of making is, again, a metaphor for traditionality. The viewer automatically looks at this thing and things it's an original object. It's meant to look very traditional, although right now I'm working on a six-foot-by-four-foot painted stenciled decal tray, which, after a few minutes of looking at it, you will know is definitely not from the 19th century. But again, the techniques and the feeling and the look are traditional, I find that that's what we're questioning right now. We're questioning what is traditional. What are these traditions?    The more I dig into these traditions, particularly in painted tinware—Japanware is what it was called. It was meant to imitate Japanese lacquerware. It had nothing to do with America. Another iteration is painted tinware that comes from a German and Scandinavian aesthetic, also not traditional American. So, these objects that you'd see in a folk museum and be like, “Yeah, Ohio, 1840, I got it,” these traditions and materials were not traditional until they became traditional. There's a lot of this material culture history that I find fascinating. It's very layered for me. I hope it's as interesting to the viewer. I have never really found the right format for many of my ideas or questions that fit into jewelry, and that's one of those cruxes. I've never found the right way for me to use jewelry or engage in jewelry with the same intents that I have in other materials or formats.    Sharon: What do you mean exactly? It doesn't fit into a category?   Jonathan: No, I can be really political with this tinware. I've never figured out how to get the same effect, with the same feeling, in jewelry. I find, for me, the wearing of jewelry is the great part of it, and I don't want my jewelry to say the same thing as my tinware. This is personal: I don't want my jewelry to work the same way as this giant tinware piece does, because I like this ring that fits on my finger. I love it, and I love when I get compliments on it. I think jewelry is special. It's great because we wear it.    As a sidenote, it was fascinating that during the pandemic, jewelry took off. Sales of jewelry took off. All my friends in the field of luxury jewelry and studio jewelry, they had great years. Jewelry is the stuff you take with you. Jewelry is the stuff you wear. Jewelry is the intimate stuff, and I think it was fascinating to know that in this time of extreme stress and trouble, people were going to jewelers to buy these things they could hold and keep and literally run with it if they had to. There is this intimacy of jewelry that people sought out, and that's special. It doesn't exist in other places. Those are the kinds of things, the resonance, that I want to embrace and love about jewelry and that I will not run away from.    One of the reasons why I started even playing around with images of jewelry, which led me to the drawings, is because I did this class at the Met called Into the Vaults. We went through all these different departments of the Met, jewelry and old jewelry. I came across the story of the Hannebery Pearls, which were pearls that were given to Catherine de Medici from her uncle, who was the Pope. This string of pearls went through the Hanoverians and then eventually into the British Crown Jewels. I thought, “Wow, if this string of pearls could talk, what we would know. What has it seen?” I was fooling around with this image of a gem, a ring that I had Photoshopped a historical scene from a movie on top of, so it almost looked like this gem was reflecting what it saw. I thought, “Wow, wouldn't it be amazing if there was a ring from ancient Greece that was passed down every generation until now, and that ring was held and worn by 200 generations?” I don't know how many generations that would be. That intimacy and history of an object doesn't exist in other places in the same way, where it's worn and carried with it. There's something about the intimacy of jewelry and the history that it can be embraced in a specific way that I really love.   Sharon: It's something very different and novel. I don't know if it's been done already.   Jonathan: I have an idea for a novel. I'll talk about it off-camera. We should talk about it. It's about that same kind of story, a will to survive.   Sharon: All right. Jonathan, thank you so much for talking with us today.   Jonathan: You're welcome.   Sharon: I expect an invitation to the opening of the 92nd Street Y in Los Angeles. I can't wait.   Jonathan: In the meantime, I hope you can come with us to Korea. As you know, I do trips around the world. South Korea is on the books, and there are a number of other wonderful things happening. The only residency for jewelry in New York City, called the JAIR, Jewelry Artist in Residence, that's happening this summer. Applications are open on our website. We had applications from 50 countries in 2019. It has been suspended since the pandemic.   Another little sidenote: I'm excited about a program called Team Gems, which is a fully-funded program for high school kids in New York City, Title 1 high schools in New York City. It's a fully-funded program for kids to get experience in jewelry that they wouldn't normally have, and will maybe create a pathway for a career in jewelry outside the academic model. I hope I'm going to be able to tell you more about it, but it's the first year and it's very exciting. Also, keep your ears open for my new series of talks coming up. I think this topic is going to be about enamel, and then hopefully a series in June in honor of Pride Month. A lot's going on at the Jewelry Center.   Sharon: Well, thank you for being here. We want to hear more about it in the future. Thank you so much, Jonathan. We greatly appreciate it.   Jonathan: Thank you, it's such a pleasure. Be well.   Sharon: You, too.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

John Langellier - Southwest History and Scouting with Buffalo Soldiers - John P. Langellier is a historian from Tucson. John is a prolific author who's written a LOT of books. His latest covers one of the Buffalo Soldier units from Southern Arizona. It's an interesting note that Buffalo Soldier is not a very descriptive term. US units throughout the west employed black soldiers in a variety of capacities...but damn did they do it well in the Ft. Bowie/Huachuca region. You will LOVE his latest book Scouting with the Buffalo Soldiers: Lieutenant Powhatan Clarke, Frederic Remington, and the Tenth U.S. Cavalry in the Southwest Pete A Turner grabbed the episode with John as he began his road trip. As we consider the role of race in history...we're fascinated by the presence of the multi-ethnic violence that made the Wild West bloody and yet filled with opportunity. We'll have more from John...you're gonna love his history. Please support the Break It Down Show by doing a monthly subscription to the show  All of the money you invest goes directly to supporting the show!   For the  of this episode head to  Haiku John Langellier Writes 'bout Buffalo Soldiers Road trip episode   ​Similar episodes: Ferose VR  Nate Nelson  Eddie Gore  Join us in supporting Save the Brave as we battle PTSD.  Executive Producer/Host: Pete A Turner  Producer: Damjan Gjorgjiev  Writer: Dragan Petrovski  The Break It Down Show is your favorite best, new podcast, featuring 5 episodes a week with great interviews highlighting world-class guests from a wide array of shows.

Dr. Tricia Loscher and I did a podcast back in December, I've been fortunate enough to be a co-curator with Tricia on the major Maynard Dixon exhibit "Maynard Dixon's American West" and she wrote the foreword for my Dixon book. That Maynard Dixon exhibit is hanging at the Scottsdale Museum of the West and will run through August 2021. If you haven't visited the Scottsdale Museum of the West, just know it's a great museum and has a wonderful collection of artistic and anthropological material. It was really interesting to hear about Dr. Loscher's love of museums and her desire to be a curator at age 7. She was also involved in art and could've gone that direction if the circumstances were slightly different, but culture and curation were what she was ultimately called to study. You don't get the opportunity to find somebody who is so honed in on their profession very often so this podcast if you're interested in curation and want to know what the museum world is all about, gives us a nice insight into the inner-workings of one of the best Western museums in the country. Dr. Loscher clearly loves what she does and she was a joy to work with as a co-curator on the Dixon exhibit and to have as a guest on this edition of Art Dealer Diaries.

CHEYENNE, WY: THE GREAT AMERICA OF 1867-1887 The time when Cheyenne was “great” was the years between 1867 and 1887, the years of the cattle boom in Wyoming. Though much has happened since then, Cheyenne continues to celebrate this era and Wyoming's branding as “The Cowboy State” remains central to Wyoming's identity as a state. It is important to understand that the American cowboy, and the cattle industry as we know it, has its origins in Mexican-American traditions in the states along the southern border, but the image of the cowboy in popular culture owes much to the works of author Owen Wister, who is credited with creating the western as a literary genre. Though he set his writings in various places around the west, his two most famous and endearing novels, Lin McLean (1897) and The Virginian: A Horseman of the Plains (1902) took place in, and were based on first-person accounts of, Wyoming during the cattle boom. Together with his illustrators, Charles M. Russell and Frederic Remington, two other great American mythmakers, Wister had helped secure a special place for the Wyoming cowboy in the popular imagination. The origins of the Wyoming cowboy, the beginnings of the cattle boom and the genesis of the city of Cheyenne all happened at the same time. In 1867, the Union Pacific railroad laid track across what would become Wyoming Territory and established a railroad depot at Cheyenne. Within two years, the so-called “Magic City of the Plains” was home to 200 businesses, had a population of 4000 people and was the capitol of the new territory. This growth was powered by the rapid development of the cattle industry. Though there was some ranching in the area since the 1850s, it suffered from lack of access to markets. The railroad not only addressed this problem, it also brought investors from the Eastern States and Britain. This ushered in the era of huge, heavily capitalized cattle operations. It seemed, for a time, that no one could lose money in the cattle business. Cattlemen dominated politics. In 1879, the Cheyenne Club was established in an ostentatious building which nearly dwarfed the territorial capitol. This became the premier gathering place for the biggest players in the cattle industry, and functioned as some ways as a “third house” of the territorial legislature where deals would be made over liquor, cigars and oysters. While this arrangement worked very well for a small number of cattlemen backed by Eastern and foreign financiers, it excluded many Wyoming residents. In their quest to monopolize land and water resources, the heavily capitalized large cattle operations were engaged in conflicts, sometimes violent, around the territory with sheepherders, farmers, and small-time ranchers. Another excluded group seems a little ironic. Though the city was named Cheyenne, the tribe would not be a part of the life of the community. In the 1870s United States was actively at war with the Cheyenne and other plains tribes and the army was initially the primary market for beef. Beyond this, a lot of people got written out of the mythmaking of the period. Though a significant number of cowboys were African-American or Native American, and Mexican-Americans worked the initial cattle drives to Wyoming from Texas, these were not the men elevated by Wister. The author considered the Anglo-American cowboy to be a paragon of the nation's values and dismissed others with words like “mongrel.” His heroes were White, Anglo-Saxon and Protestant, and this shaped the popular notion of the cowboy in Wyoming and beyond. The cattle boom came to an abrupt end in 1887. The number of cattle both exceeded market demand and the capacity of the range to support them. The final blow was a particularly severe winter in 1887. The Cheyenne Club was soon abandoned. Though the industry survived, it was no longer dominant in the same way. -Tom Prezelski, Resident Historian

CHEYENNE, WY: THE GREAT AMERICA OF 1867-1887 The time when Cheyenne was “great” was the years between 1867 and 1887, the years of the cattle boom in Wyoming. Though much has happened since then, Cheyenne continues to celebrate this era and Wyoming's branding as “The Cowboy State” remains central to Wyoming's identity as a state. It is important to understand that the American cowboy, and the cattle industry as we know it, has its origins in Mexican-American traditions in the states along the southern border, but the image of the cowboy in popular culture owes much to the works of author Owen Wister, who is credited with creating the western as a literary genre. Though he set his writings in various places around the west, his two most famous and endearing novels, Lin McLean (1897) and The Virginian: A Horseman of the Plains (1902) took place in, and were based on first-person accounts of, Wyoming during the cattle boom. Together with his illustrators, Charles M. Russell and Frederic Remington, two other great American mythmakers, Wister had helped secure a special place for the Wyoming cowboy in the popular imagination. The origins of the Wyoming cowboy, the beginnings of the cattle boom and the genesis of the city of Cheyenne all happened at the same time. In 1867, the Union Pacific railroad laid track across what would become Wyoming Territory and established a railroad depot at Cheyenne. Within two years, the so-called “Magic City of the Plains” was home to 200 businesses, had a population of 4000 people and was the capitol of the new territory. This growth was powered by the rapid development of the cattle industry. Though there was some ranching in the area since the 1850s, it suffered from lack of access to markets. The railroad not only addressed this problem, it also brought investors from the Eastern States and Britain. This ushered in the era of huge, heavily capitalized cattle operations. It seemed, for a time, that no one could lose money in the cattle business. Cattlemen dominated politics. In 1879, the Cheyenne Club was established in an ostentatious building which nearly dwarfed the territorial capitol. This became the premier gathering place for the biggest players in the cattle industry, and functioned as some ways as a “third house” of the territorial legislature where deals would be made over liquor, cigars and oysters. While this arrangement worked very well for a small number of cattlemen backed by Eastern and foreign financiers, it excluded many Wyoming residents. In their quest to monopolize land and water resources, the heavily capitalized large cattle operations were engaged in conflicts, sometimes violent, around the territory with sheepherders, farmers, and small-time ranchers. Another excluded group seems a little ironic. Though the city was named Cheyenne, the tribe would not be a part of the life of the community. In the 1870s United States was actively at war with the Cheyenne and other plains tribes and the army was initially the primary market for beef. Beyond this, a lot of people got written out of the mythmaking of the period. Though a significant number of cowboys were African-American or Native American, and Mexican-Americans worked the initial cattle drives to Wyoming from Texas, these were not the men elevated by Wister. The author considered the Anglo-American cowboy to be a paragon of the nation's values and dismissed others with words like “mongrel.” His heroes were White, Anglo-Saxon and Protestant, and this shaped the popular notion of the cowboy in Wyoming and beyond. The cattle boom came to an abrupt end in 1887. The number of cattle both exceeded market demand and the capacity of the range to support them. The final blow was a particularly severe winter in 1887. The Cheyenne Club was soon abandoned. Though the industry survived, it was no longer dominant in the same way. -Tom Prezelski, Resident Historian

Every beginning starts with an ending. This is one of the principles of Pendulum theory. And the middle is always in the middle. When our fight with King George ended in 1783, thirteen powerless colonies became “The United States.” This was the beginning of the first America; 3 million citizens clinging to the eastern edge of a vast, uncharted wilderness. Truly, “a land of opportunity.” Eighty years later – 1863 – we were in the middle of a war between ourselves. (1861-1865) And July 2nd of that year – the middle day in the 3-day Battle of Gettysburg – was also the middle day of the middle year in our 5-year Civil War. Fourteen years after the Civil War ended, Charles M. Russell and Frederic Remington headed west to capture the ending of the Wild West. Their paintings and sculptures of those ending days now sell for millions of dollars. Nineteen years after Charlie and Fred headed West, https://www.pbs.org/tpt/slavery-by-another-name/themes/progressivism/ (Teddy Roosevelt) led his “rough riders” up a hill during the Spanish-American War. His arrival on that hilltop signaled the end of the Wild West, the end of the Spanish Empire, and the end of the first America.1 As I said earlier, every beginning starts with an ending.The second America began when Teddy became President in 1901. This second America was a land of progress and achievement, a World Power, a country of cars and department stores and Coca-Cola, electric lights, running water, and houses everywhere. Do you remember when Whitney Houston sang, “I Wanna Dance with Somebody”? America's memory of the Civil War was more recent than that when they elected Teddy Roosevelt. One of Teddy's first official actions was to invite Booker T. Washington, a black educator, to dinner at the White House. White-hot rage was ignited across the South. According to historian Deborah Davis, “There was hell to pay… This story did not go away. An assassin was hired to go to Tuskegee to kill Booker T. Washington. He was pursued wherever he went… There were vulgar cartoons of Mrs. Roosevelt that had never been done before.” The Revolutionary War ended and the first America began: Opportunity America. One hundred and twelve years later – 1901 – the second America began: Achievement America. One hundred and twelve years later – 2013 – the third America began: Virtual America, a “sharing economy” featuring virtual ownership, (Airbnb, Uber, TaskRabbit) virtual currency, (Bitcoin, Ethereum, Litecoin) virtual reality. (Facebook, Twitter, TikTok) 2013 was also the halfway point in the upswing of society's pendulum toward the zenith of our current “We” cycle. The halfway point is where we begin to take a good thing too far. In 2013 we shifted from “fighting together for the common good” to simply “fighting together.” Western Civilization2 has done this every 80 years for the past 3 millennia. I wrote at length about it in https://smile.amazon.com/Pendulum-Generations-Present-Williams-2012-10-02/dp/B01LP466GG/ref=sr_1_2?crid=3C4JZB95AWFYE&dchild=1&keywords=pendulum+roy+williams&qid=1605625725&sprefix=Pendulum+roy%2Caps%2C186&sr=8-2 (Pendulum) several years ago: 1783 marked the ending of our Revolutionary War.1783 was the zenith of a “We.”80 years later… 1863 marked the middle of our Civil War. 1863 was the zenith of a “We.” 80 years later… 1943 marked the middle of WWII. 1943 was the zenith of a “We.” 80 years later… 2023 will mark the zenith of our current “We.” I wonder what we'll be in the middle of then? Roy H. Williams 1 the America of George W. and Thomas J. and Benjamin F. and Samuel Adams, the patron saint of beer.  2 Western Civilization began 3,000 years ago in Israel and Persia, then expanded to ancient Greece, then to Rome, then to Britain who took it to North America and Australia.

This show is part of Maine Calling's ongoing coverage of topics relating to Maine's bicentennial. Marking the September 25th opening of a major exhibit on artists Winslow Homer and Frederic Remington at the Portland Museum of Art, we examine the significance of Homer's work and his time in Maine. The seminal period in Homer's career spent living and painting on Maine's rocky coast have produced some of the paintings that are considered masterpieces in American art--and defining images of Maine.

This show is part of Maine Calling's ongoing coverage of topics relating to Maine's bicentennial. Marking the September 25th opening of a major exhibit on artists Winslow Homer and Frederic Remington at the Portland Museum of Art, we examine the significance of Homer's work and his time in Maine. The seminal period in Homer's career spent living and painting on Maine's rocky coast have produced some of the paintings that are considered masterpieces in American art--and defining images of Maine.

Associate Director of the BYU Museum of Art, Ed Lind stopped by the gallery today to share his fascinating story. Ed is somebody who was born an artist, but his career path just didn't let him go that direction. He was involved in computers very early on in the '80s, realized he wanted to follow his passion, and then went back to school when he was in his 30's and received a fine art degree. He eventually got a call from Brigham Young University to be a part of their museum administration, becoming an associate director. This podcast is a must for all the people who love Dixon. This is THE podcast. BYU purchased 85 paintings from Dixon himself in 1937 for $3,700. The dean of the business school at the time, Harold R. Clark made this amazing deal with Maynard Dixon, and thus in 1937 BYU became one of the largest depositories of Maynard Dixon's work. We have a great dialogue about Maynard Dixon and what he represents, where his legacy is headed, and how relevant he is to current events happening right now with the strife that's going on in America and the rest of the world.

Jim Ballinger, an important figure in the Arizona art world and my 100th podcast guest, provided one of my more fascinating interviews. Jim Ballinger is the former director of the Phoenix Art Museum for 40 years, a curator for 7 years, and the director for 33. Working for the Phoenix Art Museum was his first job and turns out his last, spending an entire career taking the museum from a small regional entity to a major institution in American Art. Jim's early life, including being a tennis athlete to becoming one of the youngest museum directors at the age of 31. Jim shares a story of ending up on the front page of the Kansas City newspaper and not for what you might think. The interview ends with some fascinating information (and historical footage) about a subject Jim has a deep fascination, the art of the Hoover (Boulder) Dam a project he is working on for a major book on the subject. Hope you enjoy our anniversary interview number one hundred with Jim Ballinger.

Rebecca interviews Jill Whitten and Robert Proctor of Whitten & Proctor Fine Art Conservation. They discuss the process of art conservation and restoration, as well as their paths into the field and some of their projects with museums around the world. (From http://www.whittenandproctor.com/02Experience.htm) JILL WHITTEN has been a painting conservator in private practice in Houston,Texas since 1999. She received a BFA in Painting from the University of Texas at Austin, and an MA and Certificate of Conservation from Buffalo State College, New York, in 1992. She spent her graduate internship and a three-year Mellon Fellowship at the Art Institute of Chicago. In the winter of 1995, she received a Kress Grant to work as a guest conservator at the J. Paul Getty Museum on the first phase of a collaborative project to produce new retouching paints for conservators. She and Robert Proctor were sabbatical replacement lecturers at the Buffalo State College Art Conservation Department in the spring of 1996. From 1996 to 98 she worked at the National Gallery of Art in Washington, D.C., testing and developing retouching materials in the Scientific Department and as a conservator of 20th Century paintings. Jill worked as a contract conservator at the Museum of Fine Arts, Houston treating the paintings of Frederic Remington in 1997 and 1998. Jill has lectured and led workshops for conservators in the U.S. and Europe on the use of new materials for varnishing and retouching since 1993. ROBERT PROCTOR has had a private practice serving individuals, institutions, museums, libraries, and corporations since 1994. He studied Art History at Tulane University in New Orleans and graduated with a BA in 1980. He earned an MA and Certificate of Conservation at Buffalo State College in Buffalo, New York in 1992. He traveled to Munich for his graduate internship at the Bayerisches Nationalmuseum where he mastered the technique of reweaving tears. From 1992-93 Robert was a graduate intern and an assistant painting conservator at the Indianapolis Museum of Art. He treated a large group of paintings by Max Beckmann at the Saint Louis Art Museum in preparation for an exhibition in Stuttgart. He worked with Jill Whitten on the Frederic Remington Collection at the Museum of Fine Arts, Houston in 1997 and 1998. Robert is a specialist in the reweaving of tears and has taught workshops on reweaving and has lectured internationally on varnishes since 1994. PROFESSIONAL AFFILIATIONS American Institute for Conservation-AIC International Institute for Conservation-IIC Texas Association of Museums-TAM Western Area Art Conservation-WAAC Special Guest: Jill Whitten & Robert Proctor.

Raised in a one-room log cabin in a small North Texas town, Amon G. Carter (1879–1955) rose to become the founder and publisher of the Fort Worth Star-Telegram, a seat of power from which he relentlessly promoted the city of Fort Worth, amassed a fortune, and established himself as the quintessential Texan of his era. The first in-depth, scholarly biography of this outsize character and civic booster, Amon Carter: A Lone Star Life (University of Oklahoma Press, 2019) chronicles a remarkable life and places it in the larger context of state and nation. Though best known for the Star-Telegram, Carter also established WBAP, Fort Worth’s first radio station, which in 1948 became the first television station in the Southwest. He was responsible for bringing the headquarters of what would become American Airlines to Fort Worth and for securing government funding for a local aircraft factory that evolved into Lockheed Martin. Historian Brian A. Cervantez has drawn on Texas Christian University’s rich collection of Carter papers to chart Carter’s quest to bring business and government projects to his adopted hometown, enterprises that led to friendships with prominent national figures such as Franklin D. Roosevelt, Dwight D. Eisenhower, Will Rogers, H. L. Mencken, and John Nance Garner. After making millions of dollars in the oil business, Carter used his wealth to fund schools, hospitals, museums, churches, parks, and camps. His numerous philanthropic efforts culminated in the Amon G. Carter Foundation, which still supports cultural and educational endeavors throughout Texas. He was a driving force behind the establishment of Texas Tech University, a major contributor to Texas Christian University, a key figure in the creation of Big Bend National Park, and an art lover whose collection of the works of Frederic Remington and Charles M. Russell served as the foundation of the Amon Carter Museum of American Art. Amon Carter: A Lone Star Life testifies to the singular character and career of one man whose influence can be seen throughout the cultural and civic life of Fort Worth, Texas, and the American Southwest to this day. Dr. Brian Cervantez is Associate Professor at Tarrant County College in Texas, where he specializes in the history of the American South. Rob Denning is the host of the excellent podcast Working Historians. Subscribe to Working Historians here. 

Raised in a one-room log cabin in a small North Texas town, Amon G. Carter (1879–1955) rose to become the founder and publisher of the Fort Worth Star-Telegram, a seat of power from which he relentlessly promoted the city of Fort Worth, amassed a fortune, and established himself as the quintessential Texan of his era. The first in-depth, scholarly biography of this outsize character and civic booster, Amon Carter: A Lone Star Life (University of Oklahoma Press, 2019) chronicles a remarkable life and places it in the larger context of state and nation. Though best known for the Star-Telegram, Carter also established WBAP, Fort Worth’s first radio station, which in 1948 became the first television station in the Southwest. He was responsible for bringing the headquarters of what would become American Airlines to Fort Worth and for securing government funding for a local aircraft factory that evolved into Lockheed Martin. Historian Brian A. Cervantez has drawn on Texas Christian University’s rich collection of Carter papers to chart Carter’s quest to bring business and government projects to his adopted hometown, enterprises that led to friendships with prominent national figures such as Franklin D. Roosevelt, Dwight D. Eisenhower, Will Rogers, H. L. Mencken, and John Nance Garner. After making millions of dollars in the oil business, Carter used his wealth to fund schools, hospitals, museums, churches, parks, and camps. His numerous philanthropic efforts culminated in the Amon G. Carter Foundation, which still supports cultural and educational endeavors throughout Texas. He was a driving force behind the establishment of Texas Tech University, a major contributor to Texas Christian University, a key figure in the creation of Big Bend National Park, and an art lover whose collection of the works of Frederic Remington and Charles M. Russell served as the foundation of the Amon Carter Museum of American Art. Amon Carter: A Lone Star Life testifies to the singular character and career of one man whose influence can be seen throughout the cultural and civic life of Fort Worth, Texas, and the American Southwest to this day. Dr. Brian Cervantez is Associate Professor at Tarrant County College in Texas, where he specializes in the history of the American South. Rob Denning is the host of the excellent podcast Working Historians. Subscribe to Working Historians here.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Raised in a one-room log cabin in a small North Texas town, Amon G. Carter (1879–1955) rose to become the founder and publisher of the Fort Worth Star-Telegram, a seat of power from which he relentlessly promoted the city of Fort Worth, amassed a fortune, and established himself as the quintessential Texan of his era. The first in-depth, scholarly biography of this outsize character and civic booster, Amon Carter: A Lone Star Life (University of Oklahoma Press, 2019) chronicles a remarkable life and places it in the larger context of state and nation. Though best known for the Star-Telegram, Carter also established WBAP, Fort Worth’s first radio station, which in 1948 became the first television station in the Southwest. He was responsible for bringing the headquarters of what would become American Airlines to Fort Worth and for securing government funding for a local aircraft factory that evolved into Lockheed Martin. Historian Brian A. Cervantez has drawn on Texas Christian University’s rich collection of Carter papers to chart Carter’s quest to bring business and government projects to his adopted hometown, enterprises that led to friendships with prominent national figures such as Franklin D. Roosevelt, Dwight D. Eisenhower, Will Rogers, H. L. Mencken, and John Nance Garner. After making millions of dollars in the oil business, Carter used his wealth to fund schools, hospitals, museums, churches, parks, and camps. His numerous philanthropic efforts culminated in the Amon G. Carter Foundation, which still supports cultural and educational endeavors throughout Texas. He was a driving force behind the establishment of Texas Tech University, a major contributor to Texas Christian University, a key figure in the creation of Big Bend National Park, and an art lover whose collection of the works of Frederic Remington and Charles M. Russell served as the foundation of the Amon Carter Museum of American Art. Amon Carter: A Lone Star Life testifies to the singular character and career of one man whose influence can be seen throughout the cultural and civic life of Fort Worth, Texas, and the American Southwest to this day. Dr. Brian Cervantez is Associate Professor at Tarrant County College in Texas, where he specializes in the history of the American South. Rob Denning is the host of the excellent podcast Working Historians. Subscribe to Working Historians here.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Raised in a one-room log cabin in a small North Texas town, Amon G. Carter (1879–1955) rose to become the founder and publisher of the Fort Worth Star-Telegram, a seat of power from which he relentlessly promoted the city of Fort Worth, amassed a fortune, and established himself as the quintessential Texan of his era. The first in-depth, scholarly biography of this outsize character and civic booster, Amon Carter: A Lone Star Life (University of Oklahoma Press, 2019) chronicles a remarkable life and places it in the larger context of state and nation. Though best known for the Star-Telegram, Carter also established WBAP, Fort Worth’s first radio station, which in 1948 became the first television station in the Southwest. He was responsible for bringing the headquarters of what would become American Airlines to Fort Worth and for securing government funding for a local aircraft factory that evolved into Lockheed Martin. Historian Brian A. Cervantez has drawn on Texas Christian University’s rich collection of Carter papers to chart Carter’s quest to bring business and government projects to his adopted hometown, enterprises that led to friendships with prominent national figures such as Franklin D. Roosevelt, Dwight D. Eisenhower, Will Rogers, H. L. Mencken, and John Nance Garner. After making millions of dollars in the oil business, Carter used his wealth to fund schools, hospitals, museums, churches, parks, and camps. His numerous philanthropic efforts culminated in the Amon G. Carter Foundation, which still supports cultural and educational endeavors throughout Texas. He was a driving force behind the establishment of Texas Tech University, a major contributor to Texas Christian University, a key figure in the creation of Big Bend National Park, and an art lover whose collection of the works of Frederic Remington and Charles M. Russell served as the foundation of the Amon Carter Museum of American Art. Amon Carter: A Lone Star Life testifies to the singular character and career of one man whose influence can be seen throughout the cultural and civic life of Fort Worth, Texas, and the American Southwest to this day. Dr. Brian Cervantez is Associate Professor at Tarrant County College in Texas, where he specializes in the history of the American South. Rob Denning is the host of the excellent podcast Working Historians. Subscribe to Working Historians here.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Raised in a one-room log cabin in a small North Texas town, Amon G. Carter (1879–1955) rose to become the founder and publisher of the Fort Worth Star-Telegram, a seat of power from which he relentlessly promoted the city of Fort Worth, amassed a fortune, and established himself as the quintessential Texan of his era. The first in-depth, scholarly biography of this outsize character and civic booster, Amon Carter: A Lone Star Life (University of Oklahoma Press, 2019) chronicles a remarkable life and places it in the larger context of state and nation. Though best known for the Star-Telegram, Carter also established WBAP, Fort Worth’s first radio station, which in 1948 became the first television station in the Southwest. He was responsible for bringing the headquarters of what would become American Airlines to Fort Worth and for securing government funding for a local aircraft factory that evolved into Lockheed Martin. Historian Brian A. Cervantez has drawn on Texas Christian University’s rich collection of Carter papers to chart Carter’s quest to bring business and government projects to his adopted hometown, enterprises that led to friendships with prominent national figures such as Franklin D. Roosevelt, Dwight D. Eisenhower, Will Rogers, H. L. Mencken, and John Nance Garner. After making millions of dollars in the oil business, Carter used his wealth to fund schools, hospitals, museums, churches, parks, and camps. His numerous philanthropic efforts culminated in the Amon G. Carter Foundation, which still supports cultural and educational endeavors throughout Texas. He was a driving force behind the establishment of Texas Tech University, a major contributor to Texas Christian University, a key figure in the creation of Big Bend National Park, and an art lover whose collection of the works of Frederic Remington and Charles M. Russell served as the foundation of the Amon Carter Museum of American Art. Amon Carter: A Lone Star Life testifies to the singular character and career of one man whose influence can be seen throughout the cultural and civic life of Fort Worth, Texas, and the American Southwest to this day. Dr. Brian Cervantez is Associate Professor at Tarrant County College in Texas, where he specializes in the history of the American South. Rob Denning is the host of the excellent podcast Working Historians. Subscribe to Working Historians here.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Raised in a one-room log cabin in a small North Texas town, Amon G. Carter (1879–1955) rose to become the founder and publisher of the Fort Worth Star-Telegram, a seat of power from which he relentlessly promoted the city of Fort Worth, amassed a fortune, and established himself as the quintessential Texan of his era. The first in-depth, scholarly biography of this outsize character and civic booster, Amon Carter: A Lone Star Life (University of Oklahoma Press, 2019) chronicles a remarkable life and places it in the larger context of state and nation. Though best known for the Star-Telegram, Carter also established WBAP, Fort Worth’s first radio station, which in 1948 became the first television station in the Southwest. He was responsible for bringing the headquarters of what would become American Airlines to Fort Worth and for securing government funding for a local aircraft factory that evolved into Lockheed Martin. Historian Brian A. Cervantez has drawn on Texas Christian University’s rich collection of Carter papers to chart Carter’s quest to bring business and government projects to his adopted hometown, enterprises that led to friendships with prominent national figures such as Franklin D. Roosevelt, Dwight D. Eisenhower, Will Rogers, H. L. Mencken, and John Nance Garner. After making millions of dollars in the oil business, Carter used his wealth to fund schools, hospitals, museums, churches, parks, and camps. His numerous philanthropic efforts culminated in the Amon G. Carter Foundation, which still supports cultural and educational endeavors throughout Texas. He was a driving force behind the establishment of Texas Tech University, a major contributor to Texas Christian University, a key figure in the creation of Big Bend National Park, and an art lover whose collection of the works of Frederic Remington and Charles M. Russell served as the foundation of the Amon Carter Museum of American Art. Amon Carter: A Lone Star Life testifies to the singular character and career of one man whose influence can be seen throughout the cultural and civic life of Fort Worth, Texas, and the American Southwest to this day. Dr. Brian Cervantez is Associate Professor at Tarrant County College in Texas, where he specializes in the history of the American South. Rob Denning is the host of the excellent podcast Working Historians. Subscribe to Working Historians here.  Learn more about your ad choices. Visit megaphone.fm/adchoices

The boys tip their hat to two of the most famous western painters and sculptors of all time - Frederic Remington and Charles M. Russell. Labeled by some as the "Norman Rockwell" of the American West, these two artists recorded the authentic look of the west on canvas as a reference for all future generations.

The Jewish Sabbath begins each Friday at sunset because the fifth verse of Genesis reads, “And the evening and the morning were the first day.” Every beginning starts with an ending. Thirteen colonies became 13 “united states” when our fight for freedom ended and our government under a Constitution began in 1789. This was the beginning of the first America, a land of freedom and opportunity. Those “united states” became somewhat less united during our Civil War of 1861 to 1865. More about that later. In 1880 and 1881, Charles M. Russell and Frederic Remington headed west to capture memories of a time they saw to be ending. Their paintings and sculptures of the Wild West now sell for millions of dollars. Teddy Roosevelt took the last traces of the Wild West to Cuba in 1898 when he led his “rough riders” to the top of a now-famous hill during the Spanish-American War. His arrival on that hill signaled the ending of the Wild West, the ending of the Spanish Empire, and the ending of the first America. The second America began when Teddy Roosevelt became President in 1901. America was now a land of achievement, a World Power, a nation of cars and department stores and Coca-Cola, electric lights, running water and tract houses. We fought two World Wars, Korea, Viet Nam, and Desert Storm before the end of that century and we taught our children that anyone could work as a tradesman, but if you wanted a “good-paying job” you needed to go to college. It took 112 years to move from the end of our fight for freedom to Teddy Roosevelt's land of achievement and the beginning of the second America in 1901. In 2013 – one hundred and twelve years after Teddy took the White House – we saw the unwinding of achievement and the beginning of the third America, a land of virtual reality, virtual currency, and virtual ownership. Massive multiplayer online games, Bitcoin and Uber, Facebook and Twitter, Google and Airbnb.* 2013 also marked the halfway point in the upswing of society's pendulum toward the zenith of our current “We.” The halfway point in the upswing of a “We” is where we begin to take a good thing too far. We shift from “fighting together for the common good” to simply “fighting together.” Western Civilization has done this every 8th decade for the past 3,000 years. I wrote at length about this in https://smile.amazon.com/Pendulum-Generations-Present-Predict-Future/dp/1593157061/ref=sr_1_9?keywords=Pendulum&qid=1558997401&s=books&sr=1-9 (Pendulum) a number of years ago. Do you remember that book? 1783 marked the ending of our Revolutionary War. 1783 was the zenith of a “We.” 1863 marked the middle of our Civil War. 1863 was the zenith of a “We.” 1943 marked the middle of WWII. 1943 was the zenith of a “We.” 2023 will mark the zenith of our current “We.” I wonder what we'll be in the middle of, then? It is important to remember that the swinging of society's pendulum between the zeniths of the “Me” (1983) and the “We” (2023) is a sociological swing, not a psychological one.Sociology is the study of the values and beliefs and motives of people groups. Psychology is the study of the values, beliefs, and motives of the individual. Let's talk some more about endings. And sociology. Scientific American recently published https://blogs.scientificamerican.com/observations/the-real-reason-fans-hate-the-last-season-of-game-of-thrones/?redirect=1 (the definitive explanation of why the final season of Game of Thrones fell short) of the mark set by George R.R. Martin. According to Zeynep Tufekci, we loved the first 7 seasons of the show because, “it was sociological and institutional storytelling in a medium dominated by the psychological and the individual… This is an important shift to dissect because whether we tell our stories primarily from a sociological or psychological point of view has great consequences for how we deal with our world and the problems we...

 This episode of the Dangerous History Podcast features CJ's recent conversation with Sam Davis, host of the Inward Empire podcast. Patreon, SubscribeStar, or Bitbacker. CJ's DHP Amazon Wish List CJ's Picks (Amazon Affiliate Links)Regeneration Through Violence: The Mythology of the American Frontier, 1600–1860The Fatal Environment: The Myth of the Frontier in the Age of Industrialization, 1800–1890Gunfighter Nation: Myth of the Frontier in Twentieth-Century America, TheThe Eastern Establishment and the Western Experience: The West of Frederic Remington, Theodore Roosevelt, and Owen Wister (American Studies Series)The Contours of American HistoryEmpire As A Way of Life: An Essay on the Causes and Character of America's Present Predicament Along with a Few Thoughts about an AlternativeWe Were Soldiers12 Strong Learn more about your ad choices. Visit megaphone.fm/adchoices

He captured the "real authentic" west with his paintings, illustrations and sculptures. He loved horses, dogs, good cigars, was well liked and could drink anyone under the table. Learn more about your ad choices. Visit megaphone.fm/adchoices

Présentée comme une mini-série puis comme un film, l’anthologie western des frères Coen fait parler d’elle rien que par son format. Seulement visible sur Netflix, elle retrace six histoires de l'Ouest américain. Le seul lien (bien camouflé) entre ces récits : la frontière qui sépare les vivants des morts. Pour ce projet XXL, les réalisateurs ont rassemblé un casting de prestige : Tim Blake Nelson, James Franco, Liam Neeson, Zoe Kazan, Brendan Gleeson et Tom Waits. Malheureusement, La ballade de Buster Scruggs souffre de sa diffusion sur petit écran. Imagerie trop chargée, déséquilibre entre les sketchs et un rythme disparate, le film n’arrive pas à captiver son public jusqu’au bout. Il n’est certes pas le plus grand chef d’oeuvre du duo mais reste un bon divertissement qui donne à réfléchir. Podcast animé par Thomas Rozec avec Julien Dupuy, David Honnorat et Stéphane Moïssakis. LES RECOMMANDATIONS LA RECO DE JULIEN : Le making-of de The Grand Budapest Hotel, son seul lien avec La ballade de Buster Scruggs c’est le côté pictural.LA RECO DE DAVID : Un court-métrage des frères Coen où l’on découvre Josh Brolin en cowboy moustachu. LA RECO DE STÉPHANE : Les nouveaux sauvages, un film argentin de Damián Szifrón et le documentaire sur Gilbert Gottfried de Neil Berkeley. RÉFÉRENCES CITÉES DANS L’ÉMISSIONLa ballade de Buster Scruggs (Ethan Coen et Joel Coen, 2018), Ethan Coen, Joel Coen, Tim Blake Nelson, James Franco, Liam Neeson, Zoe Kazan, Brendan Gleeson, True Grit (Ethan Coen et Joel Coen, 2011), The Big Lebowski (Ethan Coen et Joel Coen, 1998), Fargo (Ethan Coen et Joel Coen, 1996), No Country for Old Men (Ethan Coen et Joel Coen, 2007), Burn After Reading (Ethan Coen et Joel Coen, 2008), The Barber (Ethan Coen et Joel Coen, 2001), Frederic Remington, Red Dead Redemption 2 (Rockstar Games, 2018) CRÉDITSEnregistré le 19 novembre 2018 à l’Antenne (Paris 11eme). Réalisation : Jules Jellaoui. Chargée de production : Juliette Livartowski. Chargée d’édition : Adélaïde Desnoë. Direction de production : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Générique : « Soupir Articulé », Abstrackt Keal Agram (Tanguy Destable et Lionel Pierres). Production : Binge Audio. See acast.com/privacy for privacy and opt-out information.

Joe De Yong: A Life in the West by William Reynolds The first book about the life of western artist, Joe De Yong, the only protégé of famed cowboy artist, Charles M. Russell, chronicles De Yong’s life and contribution to the preservation and celebration of the ways of the American West through his art, writings, illustrated letters and personal collection. Joseph Franklin De Yong was a cowboy artist, protégé of Charles Marion Russell (Montana’s cowboy artist), and an historical consultant on western films. Dan Gagliasso wrote, “While director John Ford made extensive use of Frederic Remington’s art in his western films, it was the Russell ‘look,’ kept alive by De Yong’s costume designs, scenic sketch art, and historical advice, that influenced the form and feel of such classic Westerns as The Plainsman (1937), Union Pacific (1939), Buffalo Bill (1944), Red River (1948), and Shane (1953).” The authentic work De Yong did in film continues to influence the way costume and set designs for western movies are conceived, as evidenced in classics like Dances with Wolves and Unforgiven, and the mini-series Lonesome Dove. Joe De Yong: A Life in the West (Alamar Media/September 2018) by William Reynolds is an in-depth biography that takes readers on an incredible journey exploring western culture of the early 20th Century through the story of one unsung cowboy. Reynolds tells De Yong’s story by including photographs of sketches, paintings and documents culled from private collectors as well as from the permanent collections of major western museums. De Yong’s life was one of challenges, including overcoming cerebral meningitis in 1913 that left him totally deaf. Never one for self-pity, De Yong went on to become the only protégé of his artistic hero Charles M. Russell. He would take the skills he learned and make a life in the movie business working with Cecil B. DeMille and many others. The early films De Yong worked on created a pathway to authentic depictions that - while it was never loudly recognized - was utilized by many in the industry. Over ten years of research, Reynolds reveals the life of a relatively unknown artist/illustrator who started out to be “just a cowboy” who turns out was quite a “mover and shaker” touching the lives of so many in the western art world of the 1920s through the late 1960s. This long-awaited, in-depth, biography a treat for any western art fan or disciple of Charles M. Russell. ABOUT THE AUTHOR: William Reynolds is a

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation's defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California's Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona's Sharlot Hall Museum, and director of Arizona Historical Society's Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

ORIGINAL AIRDATE: February 23rd, 1987 --- Jack Dalton returns from the grave to escape the clutches of corrupt government agents. MISSION: MacGyver attends Jack's funeral only to learn he is faking his death to avoid being murdered by corrupt agents with which he has unknowingly involved himself. This week's highlights include: Here's another link to that Kerry Lenhart interview. In case you didn't get our Too Many Cooks references. Bronco Buster (Sculpture) The Bronco Buster (also spelled "Broncho Buster" as per convention at the time of sculpting) is a sculpture made of bronze copyrighted in 1895 by American artist Frederic Remington. It portrays a rugged Western frontier cowboy character fighting to stay aboard a rearing, plunging bronco, with a stirrup swinging free, a quirt in one hand and a fistful of mane and reins in the other. It was the first and remains the most popular of all of Remington's sculptures. Check out the article on wikipedia: https://en.wikipedia.org/wiki/Bronco_Buster Watch S2E17: "Dalton, Jack of Spies" on CBS's website or check the alternative streamability of this episode here.

Laura Auricchio is Associate Professor of Art History and Dean of the School of Undergraduate Studies at The New School in New York. ‘American art’ has always been created in a context of international exchange. In the 18th and 19th centuries, much of the art that we now consider American was made by artists who spent many years living and studying in Europe, and whose work was steeped in European traditions. Yet other US-born artists working in the same period set out to develop a distinctly national idiom, forging styles and focusing on subjects that, in their view, expressed the unique character of their native land. Is one of these groups more American than the other? Or do they represent two different but related understandings of what it means to be American? Looking closely at a selection of paintings by artists ranging from the European-inspired John Singleton Copley, Mary Cassatt and F Childe Hassam to the self-consciously American Edward Hicks and Frederic Remington, this presentation proposes a variety of answers to the central question: what makes ‘American art’ American.

Take a virtual visit to Ogdensburg, New York, and the Frederic Remington Art Museum to explore the life of Frederic Remington and the art he created to reflect his love for America’s Old West.