Clyfford still museum (23 risultati)

Condizione: New. Brand New.

Paperback. Condizione: new. Paperback. In late June 1936, American painter, Clyfford Still (19041980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Damthen under constructiona massive project destroying much of the Tribes traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museums future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Stills art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their Tell Clyfford I Said Hi Exhibitiondelightfully documented in this exhibition catalog by the same nameopened in Denver in September 2025. In both, Indigenous childrens voices and perspectives are everywhere, as is the joy these students derived from engaging with Stills art and connecting to their own familial and Tribal histories. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condizione: New.

Hard cover. Condizione: Very good. No jacket. Cover is lightly rubbed and top corner of front cover is lightly bumped. Spine is slightly cocked, but binding is tight. Inside is clean, bright, and unmarked.

Paperback. Condizione: New. In late June 1936, American painter, Clyfford Still (1904-1980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Dam-then under construction-a massive project destroying much of the Tribes' traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes' views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museum's future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Still's art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their "Tell Clyfford I Said 'Hi'" Exhibition-delightfully documented in this exhibition catalog by the same name-opened in Denver in September 2025. In both, Indigenous children's voices and perspectives are everywhere, as is the joy these students derived from engaging with Still's art and connecting to their own familial and Tribal histories. …

Condizione: New. 2026. paperback. . . . . .

Paperback. Condizione: Brand New. 188 pages. 9.09x0.56x11.97 inches. In Stock.

Condizione: New. 2026. paperback. . . . . . Books ship from the US and Ireland.

Paperback. Condizione: Brand New. 188 pages. 9.09x0.56x11.97 inches. In Stock.

Hardback. Condizione: New. In late June 1936, American painter, Clyfford Still (1904-1980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Dam-then under construction-a massive project destroying much of the Tribes' traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes' views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museum's future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Still's art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their "Tell Clyfford I Said 'Hi'" Exhibition-delightfully documented in this exhibition catalog by the same name-opened in Denver in September 2025. In both, Indigenous children's voices and perspectives are everywhere, as is the joy these students derived from engaging with Still's art and connecting to their own familial and Tribal histories. …

Condizione: New.

Taschenbuch. Condizione: Neu. Neuware - In late June 1936, American painter, Clyfford Still (19041980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Damthen under constructiona massive project destroying much of the Tribes' traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes' views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museum's future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Still's art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their "Tell Clyfford I Said 'Hi'" Exhibitiondelightfully documented in this exhibition catalog by the same nameopened in Denver in September 2025. In both, Indigenous children's voices and perspectives are everywhere, as is the joy these students derived from engaging with Still's art and connecting to their own familial and Tribal histories.…

Paperback. Condizione: new. Paperback. In late June 1936, American painter, Clyfford Still (19041980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Damthen under constructiona massive project destroying much of the Tribes traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museums future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Stills art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their Tell Clyfford I Said Hi Exhibitiondelightfully documented in this exhibition catalog by the same nameopened in Denver in September 2025. In both, Indigenous childrens voices and perspectives are everywhere, as is the joy these students derived from engaging with Stills art and connecting to their own familial and Tribal histories. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Condizione: New. 2026. hardcover. . . . . .

Hardcover. Condizione: Brand New. 188 pages. 9.73x0.83x11.91 inches. In Stock.

Condizione: New. 2026. hardcover. . . . . . Books ship from the US and Ireland.

Condizione: New.

Paperback. Condizione: new. Paperback. In late June 1936, American painter, Clyfford Still (19041980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Damthen under constructiona massive project destroying much of the Tribes traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museums future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Stills art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their Tell Clyfford I Said Hi Exhibitiondelightfully documented in this exhibition catalog by the same nameopened in Denver in September 2025. In both, Indigenous childrens voices and perspectives are everywhere, as is the joy these students derived from engaging with Stills art and connecting to their own familial and Tribal histories. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Buch. Condizione: Neu. Neuware - In late June 1936, American painter, Clyfford Still (19041980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Damthen under constructiona massive project destroying much of the Tribes' traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes' views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museum's future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Still's art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their "Tell Clyfford I Said 'Hi'" Exhibitiondelightfully documented in this exhibition catalog by the same nameopened in Denver in September 2025. In both, Indigenous children's voices and perspectives are everywhere, as is the joy these students derived from engaging with Still's art and connecting to their own familial and Tribal histories.…

Paperback. Condizione: New. In late June 1936, American painter, Clyfford Still (1904-1980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Dam-then under construction-a massive project destroying much of the Tribes' traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes' views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museum's future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Still's art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their "Tell Clyfford I Said 'Hi'" Exhibition-delightfully documented in this exhibition catalog by the same name-opened in Denver in September 2025. In both, Indigenous children's voices and perspectives are everywhere, as is the joy these students derived from engaging with Still's art and connecting to their own familial and Tribal histories. …

Hardback. Condizione: New. In late June 1936, American painter, Clyfford Still (1904-1980), and his Washington State College (WSC) faculty supervisor, Worth Griffin, traveled to the Colville Confederated Tribes Reservation in northeastern Washington and sketched portraits of people they met there, including several Tribal elders. They also captured in detail the nearby Grand Coulee Dam-then under construction-a massive project destroying much of the Tribes' traditional lifeways. Most critical was the loss of the salmon runs that gave the Nespelem community physical, spiritual, and cultural sustenance. Deeply affected by contrast between 20th-century progress and what many considered an outdated, dying culture, they proposed a summer art program on the Reservation. Established in 1937, the Nespelem Art Colony produced the first extensive visual record of the Nespelem people.While the impacts of the Nespelem Art Colony on its students, instructors, and the Washington State University community have been well documented, records of the Tribes' views were scarce. Then, in 2022, the Tribe asked if Colville Reservation youth could become part of the Clyfford Still Museum's future activities. The Museum team listened to and learned from Tribal leadership, local indigenous artists, teachers, and the children who eventually served as co-curators, selecting and interpreting Still's art. In his portraits they recognized relatives and loved ones; many landscape paintings represented familiar places and home. In the body of abstract paintings Still made in the decades after he left Washington state, they saw reminders of grandparents; of Indigenous textiles and artworks; and the foundation of our shared present. Their "Tell Clyfford I Said 'Hi'" Exhibition-delightfully documented in this exhibition catalog by the same name-opened in Denver in September 2025. In both, Indigenous children's voices and perspectives are everywhere, as is the joy these students derived from engaging with Still's art and connecting to their own familial and Tribal histories. …

Hardcover. Condizione: Gut. 239 S. Ehem. Bibliotheksexemplar mit Signatur und Stempel. GUTER Zustand, ein paar Gebrauchsspuren. Ex-library with stamp and library-signature. GOOD condition, some traces of use. L15034 9780985635701 Sprache: Englisch Gewicht in Gramm: 1300.

Condizione: Good. 12 x 9 inches. Very Good. Single sheet, printed both sides, folded into 3 panels. Minor wear. Color and B&W plates; map. Extremely Scarce.Provenance: From the estate of Gerald Nordland (1927-2019). Nordland was a museum director, art critic, educator and author. Dean of the Chouinard Art Institute (1960-64), Director of the San Francisco Museum of Art (now SFMoMA (1966-73), Milwaukee Art Museum (1977-85), and the UCLA Wight Art Gallery (1973-77). He is the author of over 60 publications, including books on Lachaise, Nakian, Diebenkorn and Frank Lloyd Wright.…