#georgemorrison

[artbookdap]

In celebration of Indigenous Peoples' Day, here are a few works from 'Action Abstraction Redefined: Modern Native Art, 1940s to 1970s,' the first appraisal of modern Native American abstraction—merging abstract expressionism, color field and hard-edge painting with Native American art. ⁠ ⁠ Artists include: Ray Aguilar, Ralph Aragon, Sammy Begay, Larry (Littlebird) Bird, Earl Biss, Bennet Brien, Bennie Buffalo, George Burdeau, T.C. Cannon, Art Chischilly, Joseph L. Concha, Larry Desjarlais, Joe Dudley, Earl Eder, Mary Eder, Kirby Feathers, Anita (Luttrell) Fields, Phyllis Fife, Herman Fragua, Henry (Hank) Gobin, John Gritts, Harvey Herman, Patrick Swazo Hinds, John Hoover, Michael Jenkins, Peter B. Jones, Ralph Robert Kniffen, Delores Lee, Alice Loiselle, Linda Lomaheftawa, Linda Lucero, Edna Massey and more.⁠ ⁠ Pictured here: ⁠ Lloyd Kiva New, (Cherokee), Untitled, 1968⁠ Fritz Scholder, (Mission/Luiseno), New Mexico Number 1, 1965⁠ George Morrison, (Wahwahtehgonagabo) (Chippewa), White Painting #1, 1965⁠ George Morrison, (Wahwahtehgonagabo/Chippewa), White Environ VI, ca. 1967⁠ Henry "Hank" Delano Gobin, (Tulalip/Snohomish) Northwest Design, 1966⁠ Mike Medicine Horse Zillioux, (Akimel O’odham/Cheyenne/Pawnee), The Day Jackson Pollack Became Christian, 1974⁠ ⁠ Published by @iaiamocna⁠ ⁠ Text by Lara Evans, Ryan S. Flahive, Shanna Ketchum-Heap of Birds, Tatiana Lomahaftewa-Singer, Stephen Wall & @manuelawelloffman⁠ ⁠ Read more via linkinbio.⁠ ⁠ #actionabstractionredefinied #nativeamericanheritage #nativeamericanart #modernnativeart #nativeart @instituteofamericanindianarts #lloydkivanew #fritzscholder #georgemorrison #mikemedicinehorsezillioux #indiginouspeoplesday #indiginousart #indiginous https://www.instagram.com/p/Cjf1OawsN_W/?igshid=NGJjMDIxMWI=

[mia-africa-americas]

Lake Superior Landscape, George Morrison, 1981, Minneapolis Institute of Art: Art of Africa and the Americas

abstracted landscape; primarily rectangular shapes--some curves--forming horizontal bands, delineated with thin red borders; thickly-applied surface pigments with openwork-like unpainted areas allowing bright multicolored underpainting to be visible; purple "sky"; blue-grey "water"; green, lavender, orange and pink "rocks/land" in foreground Lake Superior Landscape conveys all of the qualities of George Morrison’s work, including the use of strong colors, textures, and the persistent horizon line. The abstract elements within the piece harmonize with the stacked squares, suggestive of Morrison’s wood collages. Size: 35 7/8 × 59 7/8 × 1 in. (91.12 × 152.08 × 2.54 cm) (canvas) 38 7/8 × 62 3/4 × 1 11/16 in. (98.74 × 159.39 × 4.29 cm) (outer frame) Medium: Acrylic on canvas

https://collections.artsmia.org/art/123059/

[mia-paintings]

Mount Maude, George Morrison, c. 1942, Minneapolis Institute of Art: Paintings

Landscape George Morrison painted this view near Grand Portage, Minnesota, while visiting his brother Bernard. While Bernard worked for the forestry service watching for fires from a tower, Morrison painted Mount Maude outdoors in one uninterrupted session. Soon after making this work Morrison left Minnesota to study in New York, where he encountered alternative ways of working and shared ideas with new circles of friends. From 1945 onward he made abstractions from nature, some radical in design and in their treatment of paint. The Minneapolis Institute of Art purchased the painting from an exhibition the same year, making it Morrison’s first work to enter a museum collection. Size: 26 x 32 in. (66.04 x 81.28 cm) (canvas) 34 x 40 in. (86.36 x 101.6 cm) (outer frame) Medium: Oil on canvas

https://collections.artsmia.org/art/16630/

[jillianleeadamson]

George Morrison - (Anishinabe name: Wah Wah Teh Go Nay Ga Bo)

Born: Approx 1919 (actual date unknown) in Chippewa City, Minnesota, USA Died: 17 April 2000, Red Rock, near Grand Marais, Minnesota, USA

1. Untitled Mosaic - 1970’s - Salvaged Wood - 91.44 x 304.8 cm (Approx) 2. Untitled (Quarry Face) - 1949 - Pencil, Pastel, and Ink on Paper - 45.72 x 60.96 cm 3. Untitled - 1978 - Lithograph on Paper - 76.2 x 113.03 cm 4. Untitled Mosaic - 1975 - Salvaged Wood - 91.44 x 304.8 cm (Approx) 5. Sun and River - 1949 - Watercolor and Crayon on Paper - 40 x 53.34 cm 6. Structural Landscape - 1950 - Woodcut on Paper - 33.02 x 40.64 cm 7. Construction - 1953 - Gouache on Paper - 44.45 x 59.69 cm 8. Abstract Composition - 1950 - Watercolour on Paper - 29.85 x 22.86 cm

[mia-africa-americas]

Red Totem I, George Morrison, 1977, Minneapolis Institute of Art: Art of Africa and the Americas

Red Totem I is the first in a series of tall columns that George Morrison began making in 1977. According to Morrison, the word "totem" means "family mark" in the Anishinaabe language. Totemic representation is common among the Native groups of the Americas, including ancient Meso-America. Northwest Coast tribal groups used totem poles as marks of status and to honor the owner's totemic history through the use of animal imagery, which emphasized their connection to the animal world. Red Totem I was constructed with pieces of stained redwood that have been glued to a plywood core. According to Morrison, the redwood pieces were his imitation of carving "a kind of Constructivism like Mondrian and Moholy-Nagy, with straight edges and flat shapes." The wood pieces were stained red to reference sacred earth paint. An Anishinabe from the Grand Portage Reservation in northern Minnesota, Morrison graduated from the Minneapolis School of Art (now the Minneapolis College of Art and Design), and lived as a painter in New York and Paris. Returning to Minnesota in the 1970s, he began using wood to depict the landscape -- a recurring subject of his art. He described himself as "an old-fashioned abstract artist" whose goal is "not telling a story through animal and human images but making an abstract version of structural and organic vertical form." Size: H.144-1/4 x W.15-1/4 x D.15-1/4 in. Medium: Stained redwood panels on plywood form

https://collections.artsmia.org/art/6326/

[mia-africa-americas]

Lake Superior Landscape, George Morrison, 1981, Minneapolis Institute of Art: Art of Africa and the Americas

abstracted landscape; primarily rectangular shapes--some curves--forming horizontal bands, delineated with thin red borders; thickly-applied surface pigments with openwork-like unpainted areas allowing bright multicolored underpainting to be visible; purple "sky"; blue-grey "water"; green, lavender, orange and pink "rocks/land" in foreground Lake Superior Landscape conveys all of the qualities of George Morrison’s work, including the use of strong colors, textures, and the persistent horizon line. The abstract elements within the piece harmonize with the stacked squares, suggestive of Morrison’s wood collages. Size: 35 7/8 × 59 7/8 × 1 in. (91.12 × 152.08 × 2.54 cm) (canvas) 38 7/8 × 62 3/4 × 1 11/16 in. (98.74 × 159.39 × 4.29 cm) (outer frame) Medium: Acrylic on canvas

https://collections.artsmia.org/art/123059/

[mia-paintings]

Mount Maude, George Morrison, c. 1942, Minneapolis Institute of Art: Paintings

Landscape George Morrison painted this view near Grand Portage, Minnesota, while visiting his brother Bernard. While Bernard worked for the forestry service watching for fires from a tower, Morrison painted Mount Maude outdoors in one uninterrupted session. Soon after making this work Morrison left Minnesota to study in New York, where he encountered alternative ways of working and shared ideas with new circles of friends. From 1945 onward he made abstractions from nature, some radical in design and in their treatment of paint. The Minneapolis Institute of Art purchased the painting from an exhibition the same year, making it Morrison’s first work to enter a museum collection. Size: 26 x 32 in. (66.04 x 81.28 cm) (canvas) 34 x 40 in. (86.36 x 101.6 cm) (outer frame) Medium: Oil on canvas

https://collections.artsmia.org/art/16630/

[mia-paintings]

Mount Maude, George Morrison, c. 1942, Minneapolis Institute of Art: Paintings

Landscape George Morrison painted this view near Grand Portage, Minnesota, while visiting his brother Bernard. While Bernard worked for the forestry service watching for fires from a tower, Morrison painted Mount Maude outdoors in one uninterrupted session. Soon after making this work Morrison left Minnesota to study in New York, where he encountered alternative ways of working and shared ideas with new circles of friends. From 1945 onward he made abstractions from nature, some radical in design and in their treatment of paint. The Minneapolis Institute of Art purchased the painting from an exhibition the same year, making it Morrison’s first work to enter a museum collection. Size: 26 x 32 in. (66.04 x 81.28 cm) (canvas) 34 x 40 in. (86.36 x 101.6 cm) (outer frame) Medium: Oil on canvas

https://collections.artsmia.org/art/16630/