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Sheldon Jackson Museum, Sitka, Alaska
I think the design on the wooden object is a whale. The notch behind the head represents the blow hole. The whale's lower jaw is apparent just below the whale's nose, as it were.
I wish I knew what the beaded design represents. I will resist the temptation to call the appendages at the top of the head horns unless I find a credible source that supports the idea.
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This is a wonderful and rare opportunity to enjoy art for art's sake here. The overwhelming number of objects at the Sheldon Jackson Museum, my excitement at seeing them and our limited time made me forget all about my practice of photographing the label of every item after taking a photo of it.
Unfortunately, Alaska State Museum's online object catalog is not working. It's possible that some of the objects I photographed were featured as one of the museum's artifacts of the month, in which case I might be able to retrieve information about the piece from that section of the museum's web site. I might also be able to retrieve general information about the object type to which the piece pertains.
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The Sheldon Jackson Museum collections include objects from each of the Native groups in Alaska: Tlingit, Haida, Tsimshian, Aleut, Alutiiq, Yup’ik, Inupiat and Athabascan.
The collections strongly reflect the collecting done by founder, Sheldon Jackson, from 1887 through about 1898 during his tenure as General Agent of Education for Alaska.
Other objects were subsequently added to the collection, but in 1984 when the museum was purchased by the State of Alaska, the decision was made to add only Alaska Native materials made prior to the early 1930s.
The Yup’ik and Inupiat objects are the most widely represented and have the broadest selection of materials but in no way provide a comprehensive picture of the cultures.
The collection of objects from Southeast Alaska is rich in objects made for sale around the late 1800s and into the early 1900s. Spruce root baskets, engraved silver objects, and bead work are important representatives of traditional skills and materials being used to make items for sale.
However, there is only a smattering of stone tools, fishing and hunting equipment and clothing in the collection. Many everyday utilitarian objects are missing.
Sheldon Jackson only traveled deep into the interior once in his career in Alaska. He or his representative collected only a dozen Athabascan objects during that time. Athabascan objects have been added but well over half of the 106 Athabascan objects came to the museum after 1960.
Aleut and Alutiiq materials are even more rare. By the time Jackson and his teachers began collecting in the Aleutian Islands and Prince William Sound, those cultures had been impacted by Western cultures for nearly 150 years.
Museums in St. Petersburg, Russia and Finland are rich in material culture from those areas. Jackson was able to purchase made-for-sale grass baskets, gut bags and model baidarkas, but little else in the way of materials representing the people of the Aleutians.
To better represent the cultures of Alaska, the Museum is seeking items relating to certain areas and subjects. The following is a partial list:
Tlingit spoon bag, spoon mold, digging stick, bentwood box with woven cover and other utilitarian objects.
Aleut/Alutiiq clothing, kayak bailer, wood carvings and utilitarian objects.
Athabascan masks and utilitarian objects.
Any objects collected by Sheldon Jackson.
A nearly perfect ring of hot, blue stars pinwheels about the yellow nucleus of an unusual galaxy known as Hoag's Object in this image by Hubble's Wide Field and Planetary Camera 2.
The blue ring, which is dominated by clusters of young, massive stars, contrasts sharply with the yellow nucleus of mostly older stars. What appears to be a "gap" separating the two stellar populations may actually contain some star clusters that are almost too faint to see. Curiously, an object that bears an uncanny resemblance to Hoag's Object can be seen in the gap at the one o'clock position. The object is probably a background ring galaxy.
Ring-shaped galaxies can form in several different ways. One possible scenario is through a collision with another galaxy. The blue ring of stars may be the shredded remains of a galaxy that passed nearby. Some astronomers estimate that the encounter occurred about 2 to 3 billion years ago.
For more information, please visit: hubblesite.org/image/1241/news_release/2002-21
Credit: NASA and the Hubble Heritage Team (STScI/AURA);
Acknowledgment: Ray A. Lucas (STScI/AURA)
Repeating a semi-failed experiment from 2019 (with hoped-for improvements), another round of pinhole cameras were laid on the perimeter fence of the Nike Missle site at the Headlands to be left for a year. Spanning the time between two Hiroshima anniversaries, recording every passage of the sun from August 6 to the next August 6, these photographs are my exploration of the Bay Area’s infrastructure of nuclear war. These photo paper negatives were made in film canister pinholes using a piece of old Soviet photo paper, producing an image known as a lumen print which appears without using developer...
ID: 003658
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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Exposure: Digital
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Exposure: 06/2015
Processing: 06/2015
Published: 10/2015
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Flickr "taken" date set as actual publish date.
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ID: 003655
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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Exposure: Digital
Developing: ---
Enlarging: ---
Scanning: ---
Processing: Digital
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Exposure: 06/2015
Processing: 06/2015
Published: 10/2015
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Flickr "taken" date set as actual publish date.
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An unknown object buzzes the ISRO PSLV rocket Carrying Aditya L1 into space, 02.09.2023. It's extremely fast. Watch closely in this video, bottom right of the rocket it appears as a dot and grows in size as it comes closer to the rocket
Here is my analysis of this event astronomymagic.wordpress.com/about/ufo-inspects-rocket/
Oil on canvas
11" x 14"
June 2015
None of This Was Real is a series of oil paintings that portrays fictional scenes of objects randomly generated by a computer program. These objects are a product of code written by the artist and rendered using a global illumination ray tracing engine. They are effectively subjects for still life. But there was never any life – any reality – in the subjects. Everything was virtual and simulated.
The software for creating the reference images was written in Processing (processing.org), with the additional help of toxiclibs (toxiclibs.org) for geometry creation and Sunflow (sunflow.sourceforge.net) for the global illumination rendering engine.
Maker: Charles Clifford (1821-1863)
Born: Wales
Active: Spain
Medium: albumenized salt print from a paper negative
Size: 11 3/4 in x 16 1/4 in
Location: Spain
Object No. 2024.1299
Shelf: F-5
Publication: Clifford en Espana, Un fotografo en la Corte de Isabel II,Lee Fontanella, Ediciones El Viso,, 1999, pl 629
Other Collections:
Provenance: Serge Kakou
Rank: 1072
Notes: Charles Clifford is considered among the finest photographers in nineteenth-century Spain, where he spent most of his career. Settling in Madrid in the early 1850s, Clifford became court photographer to Isabella II and accompanied the Queen on a number of royal tours within the country. Clifford specialized in the photography of architectural subjects and industrial projects and his work is particularly notable for his technical mastery of the large format view. His unusual treatment of architectural spaces has made him one of the most famous 19th century photographers in Spain. He belonged to both the Sociéte Française de Photographie and the Architectural Photographic Association.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Inspired by the 'found material art' movement of the 1970s, I composed a carburetor item in wood-panels (approx. 1976). Recently, I restored this piece and adopted the color setting