Iron Age pottery from West Sussex 52106647921_c74a49f71a_b
Pansy 52106869994_4f8fb50bf5_b
Rhododendron Time 52106643593_93e0ec8931_b
Z50_2795 - Widdop Reservoir On our way to Walshaw Dean yesterday we had occasion to pass Widdop Reservoir high on moorland between Hebden Bridge, West Yorkshire and Burnley, Lancashire. The reservoir sits very close to the border between the two counties, but is controlled by Yorkshire Water, and is within West Yorkshire.
Photo taken from Ridehalgh Lane
©SWJuk (2022)
All rights reserved
Trenton Public Schools Bus # 6048 Trenton Public Schools (Dean Transportation), MI
Wild Garlic In the bluebell woods near the old medieval church in Oddington
Spring leaves 52106726654_256b303560_b
Geranium 52106724754_d25207b751_b
Rhododendron flower 52106698589_f4f00d06f7_b
Elevated Exit I'm a sucker for a photo in which you can see the whole train although this feels a little like cheating. The occasional visits by L574 this month continued with 5444 showing up light engine to grab an empty boxcar from Lakeside Foods. Despite a couple nice curves through here this corner of town is a bit cluttered. With such a short train I decided to try a tighter cropped low angle.
New Richmond, WI, May 24, 2022.
Roxxy Dean 52106335441_3bdb64d4d0_b
Still Life with Mask (1965) Eugene Landry (Shoalwater Bay Indian Tribe 1932-1988.)
Oil on Canvas
16" x 24"
Lent by Tom F. Mall
-----------------------------------------
Eugene Landry: An Artist, a Time and a Tribe
May 28-29, 2022
www.eugenelandry.com
Shoalwater Bay Heritage Museum of the Shoalwater Bay Tribe, Tokeland, Washington.
www.shoalwaterbay-nsn.gov/
-----------------------------------------
Portrait of an Artist
Eugene ''Gene'' Landry (1937-1988) was a noted Northwest Native artist, who painted from the confines of a wheelchair. His personal story is one of perseverance, of an artist who created despite setbacks, always with humor and style.
Landry's art offers a glimpse into a transitional and little-documented time in Northwest Native history. His paintings are important because they represent a Native artist's portrayal of his own people during a time when Native Americans were erased, marginalized, and misrepresented by stereotypes in media and public education.
Landry painted contemporary portraits of his people, depicting them as they were. As one of his models said, ''We're so small and isolated here. People think we're so different. At one time, we had a bunch of kids from Raymond come down, and they wanted to know where our feathers were."
Gene was born in the village of Taholah on the Quinault Indian
Reservation. His biological mother was Hoh and his father was Quileute and Swedish. As an infant, he was adopted by Myrtle (Charley) and Fred Landry and raised at Georgetown, Myrtle's reservation.
Identity
As the only child of Myrtle and Fred Landry, Gene was well provided for and deeply loved. His biological-mother, Isabelle Hudson, a full-blooded Hoh, is remembered as having dark reddish-brown hair. His father, Austin Rosander, was half Quiliuette and half Swedish. Although Gene was adopted as a baby, he maintained ties with his biological family, who lived in Grays Harbor and the surrounding area.
Gene's appearance did not conform to expectations of what an Indian was "supposed to look like." His bright red hair (sometimes referred to as "Hoh River blond") made him stand out. In high school, he styled his hair like James Dean and drove a red 1937 hot rod Ford coupe. He was a gifted athlete, known for his running and boxing prowess, but he wasn't
allowed to run track because he refused to cut his hair.
Gene's art training was not traditional to his culture. He reached advanced levels in art at Aberdeen and Ocosta High Schools, but there were no practitioners of Native arts around to mentor him. He explored and developed his talent using the means available, based on Western European art traditions. He would go on to create art with a native sensibility, using the tools available.
Art Student
Gene trained himself to use his non-dominant left hand to paint. In 1961, he enrolled at the Leon F. Derbyshire School of Fine Arts in Seattle. There was no wheelchair access, so Gene had to be carried up the stairs to the second floor classroom.
In 1962 Gene studied with noted Northwest sculptor Philip Levine at his Phoenix Gallery in Seattle. By 1964, Gene was showing his work and winning acclaim in the Pacific Northwest. Over the next four years, he exhibited at the Frye Museum, the West Coast Annual at the Seattle Civic Center, The Edmonds and Anacortes Art Festivals, and the La Grande All Indian Arts Festivals.
Gene met Sharon Billingsley, a model and painter who attended classes at Derbyshire, and they struck up a friendship that led to romance. The couple could often be found sketching street scenes side by side, Gene in his wheelchair, Sharon next to him on a folding stool.
Gene and Sharon married in California on May 28, 1965. They went to Paris to study art, then returned to the Northwest, living in Seattle, Tacoma, and Georgetown until their marriage ended in 1972.
Back to Georgetown, Washington
In the late l960s, Landry moved back to the Shoalwater Bay Reservation. He set up a studio inside a small cabin that had been moved to the reservation from North Cove's at Washaway Beach. A wheel chair ramp and wrap-around deck made it accessible for plein air painting. Situated on the shore of Shoalwater Bay, Gene painted still-lives utilizing objects that washed in on the tides: glass fishing floats, discolored rope, old bones, shells and feathers.
He also painted still lifes and portraits in oil, using his family and friends as models. These works span a pivotal time in the tribe's history, from near termination to federal recognition.
Fifty years have passed since Gene painted Winona Weber's portrait. When asked why Landry's art matters today, she replied:
“I am a historian at heart. Gene's art is part of our history. Also, a talent like his really deserves to be acknowledged. When I was working with the women's history project, I said I was happy to be breaking some stereotypes of native women. A woman said it should just be commonplace. But first you have to be visible to be usual. I would like to see Gene visible."
Later Years
Gene traveled throughout the Southwest, spending time in New Mexico and Arizona. He traveled to Mexico and the Philippines seeking native healers to help with his deteriorating health. He eventually lost function in his left arm but continued to make art, holding the brush in his teeth to reach higher places on the canvas.
In 1980 Gene moved to Santa Barbara. His house, perched on a bluff overlooking the sea, was filled with art, his own and others. He opened a gallery downtown and championed the work of local artists. In the mid 80s his business partner-who was also his care giver unexpectedly died. His own health declining, Gene returned to his parent's home on the reservation.
Gene Landry died April 7, 1988 at age 51. He is buried next to Myrtle Landry and his relations in the Indian section at Sunset Memorial in Hoquiam, Washington. The Shoalwater Bay Tribe’s Na ‘m ‘sc ‘ac Heritage Museum is located on the former site of the cabin and dome.
Illness, November 1955
The illness came without warning. When 17-year-old Gene suddenly lost consciousness, his parents wrapped him in blankets and drove two hours to Cushman Indian Hospital in Tacoma. There were closer facilities for emergency care, but they did not provide Indian Health services. Gene remained a patient at Cushman for two and a half years, undergoing treatment for tubercular meningitis. The disease paralyzed his legs, and he endured grueling physical therapy, but he continued to work on paintings from a hospital bed.
Gene's parents moved to Tacoma to be closer to the hospital. When Myrtle Landry raised concerns about his condition and the poor care, Gene was abruptly discharged. Myrtle Landry (Washington Women's Heritage Project 1980):
"One doctor said, 'Why don't you just go and leave him and forget about him?' I said, 'Just who do you think you're talking to anyway?' I said, 'I got feelings, even though I'm a full blood Indian, I got feelings.' He said, 'Well, he'll never amount to anything.' I said, 'Well, I'm sure as heck not gonna let him die here.' And boy I raised Cain with 'em. So they told us one day, 'You get out.'
And then the State decided they could do more for him than I could." The decision proved tragic. At a rehabilitation facility on Bainbridge Island, Gene fell while being moved by attendants and suffered a spinal injury. He lost the use of his right arm and the possibility of ever walking again. He was 21 years old.
Detail. Jazz Club, Seattle (ca. 1962-64) Eugene Landry (Shoalwater Bay Indian Tribe 1932-1988.)
Oil on Canvas
Loaned by Monty Baker
------------------------------------------
Eugene Landry: An Artist, a Time and a Tribe
May 28-29, 2022
www.eugenelandry.com
Shoalwater Bay Heritage Museum of the Shoalwater Bay Tribe, Tokeland, Washington.
www.shoalwaterbay-nsn.gov/
-----------------------------------------
Portrait of an Artist
Eugene ''Gene'' Landry (1937-1988) was a noted Northwest Native artist, who painted from the confines of a wheelchair. His personal story is one of perseverance, of an artist who created despite setbacks, always with humor and style.
Landry's art offers a glimpse into a transitional and little-documented time in Northwest Native history. His paintings are important because they represent a Native artist's portrayal of his own people during a time when Native Americans were erased, marginalized, and misrepresented by stereotypes in media and public education.
Landry painted contemporary portraits of his people, depicting them as they were. As one of his models said, ''We're so small and isolated here. People think we're so different. At one time, we had a bunch of kids from Raymond come down, and they wanted to know where our feathers were."
Gene was born in the village of Taholah on the Quinault Indian
Reservation. His biological mother was Hoh and his father was Quileute and Swedish. As an infant, he was adopted by Myrtle (Charley) and Fred Landry and raised at Georgetown, Myrtle's reservation.
Identity
As the only child of Myrtle and Fred Landry, Gene was well provided for and deeply loved. His biological-mother, Isabelle Hudson, a full-blooded Hoh, is remembered as having dark reddish-brown hair. His father, Austin Rosander, was half Quiliuette and half Swedish. Although Gene was adopted as a baby, he maintained ties with his biological family, who lived in Grays Harbor and the surrounding area.
Gene's appearance did not conform to expectations of what an Indian was "supposed to look like." His bright red hair (sometimes referred to as "Hoh River blond") made him stand out. In high school, he styled his hair like James Dean and drove a red 1937 hot rod Ford coupe. He was a gifted athlete, known for his running and boxing prowess, but he wasn't
allowed to run track because he refused to cut his hair.
Gene's art training was not traditional to his culture. He reached advanced levels in art at Aberdeen and Ocosta High Schools, but there were no practitioners of Native arts around to mentor him. He explored and developed his talent using the means available, based on Western European art traditions. He would go on to create art with a native sensibility, using the tools available.
Art Student
Gene trained himself to use his non-dominant left hand to paint. In 1961, he enrolled at the Leon F. Derbyshire School of Fine Arts in Seattle. There was no wheelchair access, so Gene had to be carried up the stairs to the second floor classroom.
In 1962 Gene studied with noted Northwest sculptor Philip Levine at his Phoenix Gallery in Seattle. By 1964, Gene was showing his work and winning acclaim in the Pacific Northwest. Over the next four years, he exhibited at the Frye Museum, the West Coast Annual at the Seattle Civic Center, The Edmonds and Anacortes Art Festivals, and the La Grande All Indian Arts Festivals.
Gene met Sharon Billingsley, a model and painter who attended classes at Derbyshire, and they struck up a friendship that led to romance. The couple could often be found sketching street scenes side by side, Gene in his wheelchair, Sharon next to him on a folding stool.
Gene and Sharon married in California on May 28, 1965. They went to Paris to study art, then returned to the Northwest, living in Seattle, Tacoma, and Georgetown until their marriage ended in 1972.
Back to Georgetown, Washington
In the late l960s, Landry moved back to the Shoalwater Bay Reservation. He set up a studio inside a small cabin that had been moved to the reservation from North Cove's at Washaway Beach. A wheel chair ramp and wrap-around deck made it accessible for plein air painting. Situated on the shore of Shoalwater Bay, Gene painted still-lives utilizing objects that washed in on the tides: glass fishing floats, discolored rope, old bones, shells and feathers.
He also painted still lifes and portraits in oil, using his family and friends as models. These works span a pivotal time in the tribe's history, from near termination to federal recognition.
Fifty years have passed since Gene painted Winona Weber's portrait. When asked why Landry's art matters today, she replied:
“I am a historian at heart. Gene's art is part of our history. Also, a talent like his really deserves to be acknowledged. When I was working with the women's history project, I said I was happy to be breaking some stereotypes of native women. A woman said it should just be commonplace. But first you have to be visible to be usual. I would like to see Gene visible."
Later Years
Gene traveled throughout the Southwest, spending time in New Mexico and Arizona. He traveled to Mexico and the Philippines seeking native healers to help with his deteriorating health. He eventually lost function in his left arm but continued to make art, holding the brush in his teeth to reach higher places on the canvas.
In 1980 Gene moved to Santa Barbara. His house, perched on a bluff overlooking the sea, was filled with art, his own and others. He opened a gallery downtown and championed the work of local artists. In the mid 80s his business partner-who was also his care giver unexpectedly died. His own health declining, Gene returned to his parent's home on the reservation.
Gene Landry died April 7, 1988 at age 51. He is buried next to Myrtle Landry and his relations in the Indian section at Sunset Memorial in Hoquiam, Washington. The Shoalwater Bay Tribe’s Na ‘m ‘sc ‘ac Heritage Museum is located on the former site of the cabin and dome.
Illness, November 1955
The illness came without warning. When 17-year-old Gene suddenly lost consciousness, his parents wrapped him in blankets and drove two hours to Cushman Indian Hospital in Tacoma. There were closer facilities for emergency care, but they did not provide Indian Health services. Gene remained a patient at Cushman for two and a half years, undergoing treatment for tubercular meningitis. The disease paralyzed his legs, and he endured grueling physical therapy, but he continued to work on paintings from a hospital bed.
Gene's parents moved to Tacoma to be closer to the hospital. When Myrtle Landry raised concerns about his condition and the poor care, Gene was abruptly discharged. Myrtle Landry (Washington Women's Heritage Project 1980):
"One doctor said, 'Why don't you just go and leave him and forget about him?' I said, 'Just who do you think you're talking to anyway?' I said, 'I got feelings, even though I'm a full blood Indian, I got feelings.' He said, 'Well, he'll never amount to anything.' I said, 'Well, I'm sure as heck not gonna let him die here.' And boy I raised Cain with 'em. So they told us one day, 'You get out.'
And then the State decided they could do more for him than I could." The decision proved tragic. At a rehabilitation facility on Bainbridge Island, Gene fell while being moved by attendants and suffered a spinal injury. He lost the use of his right arm and the possibility of ever walking again. He was 21 years old.
Portrait of Eugene Landry (Seattle, 1961) J. M. Loomer
Oil on Board
20" x 16"
Eugene Landry: An Artist, a Time and a Tribe
May 28-29, 2022
www.eugenelandry.com
Shoalwater Bay Heritage Museum of the Shoalwater Bay Tribe, Tokeland, Washington.
www.shoalwaterbay-nsn.gov/
-----------------------------------------
Portrait of an Artist
Eugene ''Gene'' Landry (1937-1988) was a noted Northwest Native artist, who painted from the confines of a wheelchair. His personal story is one of perseverance, of an artist who created despite setbacks, always with humor and style.
Landry's art offers a glimpse into a transitional and little-documented time in Northwest Native history. His paintings are important because they represent a Native artist's portrayal of his own people during a time when Native Americans were erased, marginalized, and misrepresented by stereotypes in media and public education.
Landry painted contemporary portraits of his people, depicting them as they were. As one of his models said, ''We're so small and isolated here. People think we're so different. At one time, we had a bunch of kids from Raymond come down, and they wanted to know where our feathers were."
Gene was born in the village of Taholah on the Quinault Indian
Reservation. His biological mother was Hoh and his father was Quileute and Swedish. As an infant, he was adopted by Myrtle (Charley) and Fred Landry and raised at Georgetown, Myrtle's reservation.
Identity
As the only child of Myrtle and Fred Landry, Gene was well provided for and deeply loved. His biological-mother, Isabelle Hudson, a full-blooded Hoh, is remembered as having dark reddish-brown hair. His father, Austin Rosander, was half Quiliuette and half Swedish. Although Gene was adopted as a baby, he maintained ties with his biological family, who lived in Grays Harbor and the surrounding area.
Gene's appearance did not conform to expectations of what an Indian was "supposed to look like." His bright red hair (sometimes referred to as "Hoh River blond") made him stand out. In high school, he styled his hair like James Dean and drove a red 1937 hot rod Ford coupe. He was a gifted athlete, known for his running and boxing prowess, but he wasn't
allowed to run track because he refused to cut his hair.
Gene's art training was not traditional to his culture. He reached advanced levels in art at Aberdeen and Ocosta High Schools, but there were no practitioners of Native arts around to mentor him. He explored and developed his talent using the means available, based on Western European art traditions. He would go on to create art with a native sensibility, using the tools available.
Art Student
Gene trained himself to use his non-dominant left hand to paint. In 1961, he enrolled at the Leon F. Derbyshire School of Fine Arts in Seattle. There was no wheelchair access, so Gene had to be carried up the stairs to the second floor classroom.
In 1962 Gene studied with noted Northwest sculptor Philip Levine at his Phoenix Gallery in Seattle. By 1964, Gene was showing his work and winning acclaim in the Pacific Northwest. Over the next four years, he exhibited at the Frye Museum, the West Coast Annual at the Seattle Civic Center, The Edmonds and Anacortes Art Festivals, and the La Grande All Indian Arts Festivals.
Gene met Sharon Billingsley, a model and painter who attended classes at Derbyshire, and they struck up a friendship that led to romance. The couple could often be found sketching street scenes side by side, Gene in his wheelchair, Sharon next to him on a folding stool.
Gene and Sharon married in California on May 28, 1965. They went to Paris to study art, then returned to the Northwest, living in Seattle, Tacoma, and Georgetown until their marriage ended in 1972.
Back to Georgetown, Washington
In the late l960s, Landry moved back to the Shoalwater Bay Reservation. He set up a studio inside a small cabin that had been moved to the reservation from North Cove's at Washaway Beach. A wheel chair ramp and wrap-around deck made it accessible for plein air painting. Situated on the shore of Shoalwater Bay, Gene painted still-lives utilizing objects that washed in on the tides: glass fishing floats, discolored rope, old bones, shells and feathers.
He also painted still lifes and portraits in oil, using his family and friends as models. These works span a pivotal time in the tribe's history, from near termination to federal recognition.
Fifty years have passed since Gene painted Winona Weber's portrait. When asked why Landry's art matters today, she replied:
“I am a historian at heart. Gene's art is part of our history. Also, a talent like his really deserves to be acknowledged. When I was working with the women's history project, I said I was happy to be breaking some stereotypes of native women. A woman said it should just be commonplace. But first you have to be visible to be usual. I would like to see Gene visible."
Later Years
Gene traveled throughout the Southwest, spending time in New Mexico and Arizona. He traveled to Mexico and the Philippines seeking native healers to help with his deteriorating health. He eventually lost function in his left arm but continued to make art, holding the brush in his teeth to reach higher places on the canvas.
In 1980 Gene moved to Santa Barbara. His house, perched on a bluff overlooking the sea, was filled with art, his own and others. He opened a gallery downtown and championed the work of local artists. In the mid 80s his business partner-who was also his care giver unexpectedly died. His own health declining, Gene returned to his parent's home on the reservation.
Gene Landry died April 7, 1988 at age 51. He is buried next to Myrtle Landry and his relations in the Indian section at Sunset Memorial in Hoquiam, Washington. The Shoalwater Bay Tribe’s Na ‘m ‘sc ‘ac Heritage Museum is located on the former site of the cabin and dome.
Illness, November 1955
The illness came without warning. When 17-year-old Gene suddenly lost consciousness, his parents wrapped him in blankets and drove two hours to Cushman Indian Hospital in Tacoma. There were closer facilities for emergency care, but they did not provide Indian Health services. Gene remained a patient at Cushman for two and a half years, undergoing treatment for tubercular meningitis. The disease paralyzed his legs, and he endured grueling physical therapy, but he continued to work on paintings from a hospital bed.
Gene's parents moved to Tacoma to be closer to the hospital. When Myrtle Landry raised concerns about his condition and the poor care, Gene was abruptly discharged. Myrtle Landry (Washington Women's Heritage Project 1980):
"One doctor said, 'Why don't you just go and leave him and forget about him?' I said, 'Just who do you think you're talking to anyway?' I said, 'I got feelings, even though I'm a full blood Indian, I got feelings.' He said, 'Well, he'll never amount to anything.' I said, 'Well, I'm sure as heck not gonna let him die here.' And boy I raised Cain with 'em. So they told us one day, 'You get out.'
And then the State decided they could do more for him than I could." The decision proved tragic. At a rehabilitation facility on Bainbridge Island, Gene fell while being moved by attendants and suffered a spinal injury. He lost the use of his right arm and the possibility of ever walking again. He was 21 years old.
Jazz Club, Seattle (ca. 1962-64) Eugene Landry (Shoalwater Bay Indian Tribe 1932-1988.)
Oil on Canvas
Loaned by Monty Baker
------------------------------------------
Eugene Landry: An Artist, a Time and a Tribe
May 28-29, 2022
www.eugenelandry.com
Shoalwater Bay Heritage Museum of the Shoalwater Bay Tribe, Tokeland, Washington.
www.shoalwaterbay-nsn.gov/
-----------------------------------------
Portrait of an Artist
Eugene ''Gene'' Landry (1937-1988) was a noted Northwest Native artist, who painted from the confines of a wheelchair. His personal story is one of perseverance, of an artist who created despite setbacks, always with humor and style.
Landry's art offers a glimpse into a transitional and little-documented time in Northwest Native history. His paintings are important because they represent a Native artist's portrayal of his own people during a time when Native Americans were erased, marginalized, and misrepresented by stereotypes in media and public education.
Landry painted contemporary portraits of his people, depicting them as they were. As one of his models said, ''We're so small and isolated here. People think we're so different. At one time, we had a bunch of kids from Raymond come down, and they wanted to know where our feathers were."
Gene was born in the village of Taholah on the Quinault Indian
Reservation. His biological mother was Hoh and his father was Quileute and Swedish. As an infant, he was adopted by Myrtle (Charley) and Fred Landry and raised at Georgetown, Myrtle's reservation.
Identity
As the only child of Myrtle and Fred Landry, Gene was well provided for and deeply loved. His biological-mother, Isabelle Hudson, a full-blooded Hoh, is remembered as having dark reddish-brown hair. His father, Austin Rosander, was half Quiliuette and half Swedish. Although Gene was adopted as a baby, he maintained ties with his biological family, who lived in Grays Harbor and the surrounding area.
Gene's appearance did not conform to expectations of what an Indian was "supposed to look like." His bright red hair (sometimes referred to as "Hoh River blond") made him stand out. In high school, he styled his hair like James Dean and drove a red 1937 hot rod Ford coupe. He was a gifted athlete, known for his running and boxing prowess, but he wasn't
allowed to run track because he refused to cut his hair.
Gene's art training was not traditional to his culture. He reached advanced levels in art at Aberdeen and Ocosta High Schools, but there were no practitioners of Native arts around to mentor him. He explored and developed his talent using the means available, based on Western European art traditions. He would go on to create art with a native sensibility, using the tools available.
Art Student
Gene trained himself to use his non-dominant left hand to paint. In 1961, he enrolled at the Leon F. Derbyshire School of Fine Arts in Seattle. There was no wheelchair access, so Gene had to be carried up the stairs to the second floor classroom.
In 1962 Gene studied with noted Northwest sculptor Philip Levine at his Phoenix Gallery in Seattle. By 1964, Gene was showing his work and winning acclaim in the Pacific Northwest. Over the next four years, he exhibited at the Frye Museum, the West Coast Annual at the Seattle Civic Center, The Edmonds and Anacortes Art Festivals, and the La Grande All Indian Arts Festivals.
Gene met Sharon Billingsley, a model and painter who attended classes at Derbyshire, and they struck up a friendship that led to romance. The couple could often be found sketching street scenes side by side, Gene in his wheelchair, Sharon next to him on a folding stool.
Gene and Sharon married in California on May 28, 1965. They went to Paris to study art, then returned to the Northwest, living in Seattle, Tacoma, and Georgetown until their marriage ended in 1972.
Back to Georgetown, Washington
In the late l960s, Landry moved back to the Shoalwater Bay Reservation. He set up a studio inside a small cabin that had been moved to the reservation from North Cove's at Washaway Beach. A wheel chair ramp and wrap-around deck made it accessible for plein air painting. Situated on the shore of Shoalwater Bay, Gene painted still-lives utilizing objects that washed in on the tides: glass fishing floats, discolored rope, old bones, shells and feathers.
He also painted still lifes and portraits in oil, using his family and friends as models. These works span a pivotal time in the tribe's history, from near termination to federal recognition.
Fifty years have passed since Gene painted Winona Weber's portrait. When asked why Landry's art matters today, she replied:
“I am a historian at heart. Gene's art is part of our history. Also, a talent like his really deserves to be acknowledged. When I was working with the women's history project, I said I was happy to be breaking some stereotypes of native women. A woman said it should just be commonplace. But first you have to be visible to be usual. I would like to see Gene visible."
Later Years
Gene traveled throughout the Southwest, spending time in New Mexico and Arizona. He traveled to Mexico and the Philippines seeking native healers to help with his deteriorating health. He eventually lost function in his left arm but continued to make art, holding the brush in his teeth to reach higher places on the canvas.
In 1980 Gene moved to Santa Barbara. His house, perched on a bluff overlooking the sea, was filled with art, his own and others. He opened a gallery downtown and championed the work of local artists. In the mid 80s his business partner-who was also his care giver unexpectedly died. His own health declining, Gene returned to his parent's home on the reservation.
Gene Landry died April 7, 1988 at age 51. He is buried next to Myrtle Landry and his relations in the Indian section at Sunset Memorial in Hoquiam, Washington. The Shoalwater Bay Tribe’s Na ‘m ‘sc ‘ac Heritage Museum is located on the former site of the cabin and dome.
Illness, November 1955
The illness came without warning. When 17-year-old Gene suddenly lost consciousness, his parents wrapped him in blankets and drove two hours to Cushman Indian Hospital in Tacoma. There were closer facilities for emergency care, but they did not provide Indian Health services. Gene remained a patient at Cushman for two and a half years, undergoing treatment for tubercular meningitis. The disease paralyzed his legs, and he endured grueling physical therapy, but he continued to work on paintings from a hospital bed.
Gene's parents moved to Tacoma to be closer to the hospital. When Myrtle Landry raised concerns about his condition and the poor care, Gene was abruptly discharged. Myrtle Landry (Washington Women's Heritage Project 1980):
"One doctor said, 'Why don't you just go and leave him and forget about him?' I said, 'Just who do you think you're talking to anyway?' I said, 'I got feelings, even though I'm a full blood Indian, I got feelings.' He said, 'Well, he'll never amount to anything.' I said, 'Well, I'm sure as heck not gonna let him die here.' And boy I raised Cain with 'em. So they told us one day, 'You get out.'
And then the State decided they could do more for him than I could." The decision proved tragic. At a rehabilitation facility on Bainbridge Island, Gene fell while being moved by attendants and suffered a spinal injury. He lost the use of his right arm and the possibility of ever walking again. He was 21 years old.
Seattle Studio (ca. 1962) Eugene Landry (Shoalwater Bay Indian Tribe 1932-1988.)
Oil on canvas
24" x 20"
Gift of Sara Nelson
-----------------------------------------
Eugene Landry: An Artist, a Time and a Tribe
May 28-29, 2022
www.eugenelandry.com
Shoalwater Bay Heritage Museum of the Shoalwater Bay Tribe, Tokeland, Washington.
www.shoalwaterbay-nsn.gov/
-----------------------------------------
Portrait of an Artist
Eugene ''Gene'' Landry (1937-1988) was a noted Northwest Native artist, who painted from the confines of a wheelchair. His personal story is one of perseverance, of an artist who created despite setbacks, always with humor and style.
Landry's art offers a glimpse into a transitional and little-documented time in Northwest Native history. His paintings are important because they represent a Native artist's portrayal of his own people during a time when Native Americans were erased, marginalized, and misrepresented by stereotypes in media and public education.
Landry painted contemporary portraits of his people, depicting them as they were. As one of his models said, ''We're so small and isolated here. People think we're so different. At one time, we had a bunch of kids from Raymond come down, and they wanted to know where our feathers were."
Gene was born in the village of Taholah on the Quinault Indian
Reservation. His biological mother was Hoh and his father was Quileute and Swedish. As an infant, he was adopted by Myrtle (Charley) and Fred Landry and raised at Georgetown, Myrtle's reservation.
Identity
As the only child of Myrtle and Fred Landry, Gene was well provided for and deeply loved. His biological-mother, Isabelle Hudson, a full-blooded Hoh, is remembered as having dark reddish-brown hair. His father, Austin Rosander, was half Quiliuette and half Swedish. Although Gene was adopted as a baby, he maintained ties with his biological family, who lived in Grays Harbor and the surrounding area.
Gene's appearance did not conform to expectations of what an Indian was "supposed to look like." His bright red hair (sometimes referred to as "Hoh River blond") made him stand out. In high school, he styled his hair like James Dean and drove a red 1937 hot rod Ford coupe. He was a gifted athlete, known for his running and boxing prowess, but he wasn't
allowed to run track because he refused to cut his hair.
Gene's art training was not traditional to his culture. He reached advanced levels in art at Aberdeen and Ocosta High Schools, but there were no practitioners of Native arts around to mentor him. He explored and developed his talent using the means available, based on Western European art traditions. He would go on to create art with a native sensibility, using the tools available.
Art Student
Gene trained himself to use his non-dominant left hand to paint. In 1961, he enrolled at the Leon F. Derbyshire School of Fine Arts in Seattle. There was no wheelchair access, so Gene had to be carried up the stairs to the second floor classroom.
In 1962 Gene studied with noted Northwest sculptor Philip Levine at his Phoenix Gallery in Seattle. By 1964, Gene was showing his work and winning acclaim in the Pacific Northwest. Over the next four years, he exhibited at the Frye Museum, the West Coast Annual at the Seattle Civic Center, The Edmonds and Anacortes Art Festivals, and the La Grande All Indian Arts Festivals.
Gene met Sharon Billingsley, a model and painter who attended classes at Derbyshire, and they struck up a friendship that led to romance. The couple could often be found sketching street scenes side by side, Gene in his wheelchair, Sharon next to him on a folding stool.
Gene and Sharon married in California on May 28, 1965. They went to Paris to study art, then returned to the Northwest, living in Seattle, Tacoma, and Georgetown until their marriage ended in 1972.
Back to Georgetown, Washington
In the late l960s, Landry moved back to the Shoalwater Bay Reservation. He set up a studio inside a small cabin that had been moved to the reservation from North Cove's at Washaway Beach. A wheel chair ramp and wrap-around deck made it accessible for plein air painting. Situated on the shore of Shoalwater Bay, Gene painted still-lives utilizing objects that washed in on the tides: glass fishing floats, discolored rope, old bones, shells and feathers.
He also painted still lifes and portraits in oil, using his family and friends as models. These works span a pivotal time in the tribe's history, from near termination to federal recognition.
Fifty years have passed since Gene painted Winona Weber's portrait. When asked why Landry's art matters today, she replied:
“I am a historian at heart. Gene's art is part of our history. Also, a talent like his really deserves to be acknowledged. When I was working with the women's history project, I said I was happy to be breaking some stereotypes of native women. A woman said it should just be commonplace. But first you have to be visible to be usual. I would like to see Gene visible."
Later Years
Gene traveled throughout the Southwest, spending time in New Mexico and Arizona. He traveled to Mexico and the Philippines seeking native healers to help with his deteriorating health. He eventually lost function in his left arm but continued to make art, holding the brush in his teeth to reach higher places on the canvas.
In 1980 Gene moved to Santa Barbara. His house, perched on a bluff overlooking the sea, was filled with art, his own and others. He opened a gallery downtown and championed the work of local artists. In the mid 80s his business partner-who was also his care giver unexpectedly died. His own health declining, Gene returned to his parent's home on the reservation.
Gene Landry died April 7, 1988 at age 51. He is buried next to Myrtle Landry and his relations in the Indian section at Sunset Memorial in Hoquiam, Washington. The Shoalwater Bay Tribe’s Na ‘m ‘sc ‘ac Heritage Museum is located on the former site of the cabin and dome.
Illness, November 1955
The illness came without warning. When 17-year-old Gene suddenly lost consciousness, his parents wrapped him in blankets and drove two hours to Cushman Indian Hospital in Tacoma. There were closer facilities for emergency care, but they did not provide Indian Health services. Gene remained a patient at Cushman for two and a half years, undergoing treatment for tubercular meningitis. The disease paralyzed his legs, and he endured grueling physical therapy, but he continued to work on paintings from a hospital bed.
Gene's parents moved to Tacoma to be closer to the hospital. When Myrtle Landry raised concerns about his condition and the poor care, Gene was abruptly discharged. Myrtle Landry (Washington Women's Heritage Project 1980):
"One doctor said, 'Why don't you just go and leave him and forget about him?' I said, 'Just who do you think you're talking to anyway?' I said, 'I got feelings, even though I'm a full blood Indian, I got feelings.' He said, 'Well, he'll never amount to anything.' I said, 'Well, I'm sure as heck not gonna let him die here.' And boy I raised Cain with 'em. So they told us one day, 'You get out.'
And then the State decided they could do more for him than I could." The decision proved tragic. At a rehabilitation facility on Bainbridge Island, Gene fell while being moved by attendants and suffered a spinal injury. He lost the use of his right arm and the possibility of ever walking again. He was 21 years old.
Puffing Billy My friend Dean and I took a trip to the Dandenongs yesterday for some photography. We decided to follow the main section of the Puffing Billy tourist railway to see what we found.
The obvious first stop is the trestle bridge, just outside of the town of Belgrave. We had not been there long before we were rewarded with this double header. I had contemplated putting the drone up, but there was a dearth of reasonable take off and recovery sites, plus two fire engines and the mobilising app had tipped me off to a sensitive emergency situation unfolding very close by, so I decided it was best to leave the drone in the bag.
The weather yesterday was not the best, being persistently overcast, which I find in a location like this makes the entire image 'dull' and difficult to balance. I am reasonably happy with this image, given some variety of tones in the sky.
Grateful for any tips or thoughts about how it could have been done differently.
DSC_3596www.washingtonpost.com/health/2022/05/28/covid-memorial-d...
Covid was vanishing last Memorial Day. Cases are five times higher now.
Covid-weary Americans enter summer with little effort to contain a still-raging pandemic
For the third year, Americans are greeting the unofficial start of summer shadowed by the specter of the coronavirus amid rising covid-19 cases and hospitalizations across the country.
The United States is recording more than 100,000 infections a day — at least five times higher than this point last year — as it confronts the most transmissible versions of the virus yet. Immunity built up as a result of the record winter outbreak appears to provide little protection against the latest variants, new research shows. And public health authorities are bracing for Memorial Day gatherings to fuel another bump in cases, potentially seeding a summer surge.
It’s a far cry from a year ago, with predictions of a “hot vax summer” uninhibited by covid concerns. Back then, coronavirus seemed to teeter on the brink of defeat as cases plummeted to their lowest levels since spring 2020 and vaccines became widely available for adults. Even the vaccinated and boosted now grudgingly accept the virus as a formidable foe that’s here to stay as governments abandon measures to contain it.
As the virus morphs and the scientific understanding of how it operates shifts with each variant, Americans are drawing their own lines for what they feel comfortable doing.
“This time last year, I was so hopeful,” said Margaret Thornton, a 35-year-old Philadelphia researcher preparing to spend her summer socializing mostly outdoors because of her weakened immune system. “Now, I don’t know when it’s going to be over, and I don’t think there is necessarily a light at the end of the tunnel. Or rather, if there is a light, is it an opening to get out? Or is it a train?”
Parents of children too young to be vaccinated are making cross-country travel plans. Octogenarians are venturing to bars. And families are celebrating graduations and weddings with throngs of mostly unmasked revelers — mindful they may get sick. Again.
More than half of the U.S. population is living in areas classified as having medium or high covid-19 levels by the Centers for Disease Control and Prevention. The latest cases have yet to overrun hospitals, but that could change as the virus spreads among more vulnerable people. The dominant strains circulating in the United States are the most contagious thus far.
“This one is really revved up, and it’s probably getting up there with something as transmissible as measles,” said Peter Hotez, dean of the National School of Tropical Medicine at Baylor College, describing the BA.2.12.1 subvariant now accounting for more than half of new cases. “Over the Memorial Day holidays, if you are in settings where you are indoors with large numbers of people without masks … there is a good likelihood you will suffer a breakthrough infection.”
Experts had hoped that the explosion of the omicron variant this winter, estimated to have infected a quarter of Americans who hadn’t already been infected, and the subsequent spring wave of omicron’s even more transmissible subvariants, would provide a buffer against future surges.
But an emerging body of research suggests those infections will not confer lasting protection as the virus’s latest iterations show remarkable ability to escape immunity. Experts say the recently infected who also received booster shots can count on at least several months of immunity, while the unvaccinated should expect little protection.
“You should not think, ‘Oh, I had omicron, I don’t need any shots’ or ’I don’t need any more shots,'” said Melanie Ott, director of the Gladstone Institute of Virology and a co-author of a paper recently published in Nature finding limited natural immunity from the omicron variant. “We are going into a surge of the omicron subvariants that are more and more able to infect people who have preexisting immunity.”
Experts say vaccines are still showing durability in protecting people against severe illness. But the initial burst of antibodies from shots or infections fades after several months, said Celine Gounder, an infectious-diseases specialist and senior fellow at Kaiser Health News. That means the virus can develop into an infection before the body’s immune system kicks in.
Burhan Yardimci, his wife and their three young children — who had all contracted coronavirus in February — joined thousands of Turkish Americans on Madison Avenue recently for the return of New York’s annual Turkish Day Parade, canceled the last two years because of the pandemic. The next day, the family stood among another crowd of thousands for the Celebrate Israel Parade.
Yardimci doesn’t take much solace in his recent infection as an extra layer of protection. He thought his booster shot would stop infections, but he knows people who’ve had the virus three times. Because no one in his family became seriously ill, he doesn’t see the need to upend his life when everyone around him appears to be carrying on as normal.
“Hopefully, we’ll never get it again,” said Yardimci, 42.
In the Boston suburbs, Mandy Boyd found herself humbled by coronavirus after getting infected twice in five months: during the massive omicron wave in January, and again in May after attending a 150-person indoor wedding. Neither case was severe.
The experience left the 35-year-old health technology worker reassessing how to protect her 4- and 6-year-old children from infections that would disrupt their schooling or summer camp. She still plans to dine out and go to the gym, but her family will wear masks on their flight to Seattle for an upcoming vacation as well as when they watch a WNBA game while there. She worries about passing on a future variant to her children, even if her short-term immunity protects her from getting sick.
“We’re in a strange spot because it turned into a much more minor virus,” said Boyd of Swampscott, Mass. “From that perspective, I don’t see that the world should stop or schools should close.”
Graduations, proms and weddings have also returned after being canceled in earlier stages of the pandemic when cases were lower than they are now.
Adeline Rosales, 26, was among the hundreds of California State University Long Beach students in caps and gowns flooding into Angel Stadium in Anaheim on a recent morning. It was her first encounter with some classmates in the College of Health and Human Services who were only familiar as faces on a computer screen during virtual class. She felt comfortable marching alongside them through a tunnel and onto the field knowing the university required vaccines and booster shots. And it was important for her relatives to celebrate the occasion with her because she is the first in the family to graduate college.
But to avoid graduation crowds, she said the family waited several days for their celebratory dinner because they were “a little scared” as infections rose and Los Angeles County moved from a low to medium covid-19 risk level. Rosales lives with her parents, both of whom have preexisting conditions, and six other relatives.
“I don’t want to risk it at this point,” Rosales said. “We’re just trying to be as respectful to my parents as possible.”
For most Americans, coronavirus has faded from the foreground.
More than half say they are not too concerned or not at all concerned with coronavirus, according to a May survey by Monmouth University.
Nearly three-quarters say they hope to vacation this summer and less than a third say coronavirus is a major factor in their plans, according to a recent Washington Post-Schar School poll. The Transportation Security Administration on Thursday reported screening more than half a million additional fliers a day compared with the same day last year.
Experts are paying close attention to the Southeast for a potential covid resurgence because the region did not experience as many cases in the spring as the Northeast, and rising temperatures are driving people indoors.
Florida residents are bracing for the return of another summer surge in sharply different ways.
For Jeff Schulte, a 63-year-old retiree, coronavirus has never really gone away, and he sees no reason to change his behavior for an omnipresent threat. He is not planning on masking, social distancing or getting booster shots this summer.
“For the rest of our lives, it’s here,” he said while smoking a cigarette outside the library in downtown Sarasota. “It’s going to catch every one of us.”
To the north near Tampa, Rick Kilby, 57, donned a KN95 mask as he hawked his book about the Victorian-era belief in the healing properties of Florida springs at Floridania Fest in a Gulfport casino ballroom. Mostly unmasked attendees snaked past his table, conveniently situated near an open door that brought in fresh air.
He’s not worried about getting seriously ill after a second booster shot. But after hearing about five vaccinated friends getting infected in just two days, he does fret about having to cancel his upcoming trip to western Pennsylvania — the only vacation he had planned for the year.
“It’s not like it was two years ago where you are really concerned about going to the hospital and not getting out. Now, it’s more of a concern that this is going to be a real inconvenience to my schedule,” said Kilby, who lives in Orlando. “That’s the wonder of the vaccine. It made it from a life-threatening condition to one that’s really more like having a flu or cold or something.”
Others at the vintage Florida memorabilia festival feared worse consequences.
Patti Kane-Wood, 78, entered the expo wearing a blue surgical mask but felt uncomfortable by how attendees “were squeezed in there like sardines” and didn’t stay long. She has heard about more people getting covid in the last month than in the last two years. While she feels well-protected from getting her second booster dose, she worries about long-term complications after watching friends develop persistent breathing problems following their illnesses. A recent study found vaccines may offer little protection against most long-covid symptoms.
“If I catch covid, even the slightest case of covid, it’s possible I have long covid and have issues for the rest of my life,” Kane-Wood said. “I’m very afraid because people are very relaxed now and understandably so, but it’s not a time to let our guard down.”
Parents of young children are entering Memorial Day weekend frustrated that children younger than 5 remain the only group ineligible for vaccines. The prospect of regulators clearing shots by the end of June is becoming increasingly likely after Pfizer-BioNTech reported data showing their three-dose regimen proved 80 percent effective in preventing symptomatic infections in children 6 months to 4 years old.
In the meantime, parents are navigating how to protect their unvaccinated children when cases are rising and others are dropping their guards.
In Portland, Oregon, Jessica Poole said she is not taking her 5-year-old daughter, Lucía, and 3-year-old son, Max, to indoor play facilities, where Lucía would catch illnesses even before covid. She asks Lucía to wear a mask while she’s at prekindergarten. And the family isn’t planning any travel, because Max is too young to get vaccinated.
But Poole, 37, is not trying to avoid the virus at all costs.
“Whatever strain is going around now, you can’t be too terrified of it,” Poole said outside a CrossFit gym where she planned to work out without a mask on. “We need to live a normal life now.”
At a southeast Portland pub, George Cummings, 85, took a leap of faith as he joined his friends from a local mountaineering and climbing club for drinks. He knows he’s at a higher risk because of his age and wears a mask at the grocery store. He said he has not received a second booster shot because his doctor had not told him they were available.
He went maskless as he drank lemonade, ate a cheeseburger and mingled with a group of two dozen in the crowded bar.
“I’m not sure I’m 100 percent comfortable with my decision, but the alternative was not to go to the event,” said Cummings, who lives alone and had suspended his social life for the better part of two years.
“It’s almost a question of, do you want to live — and that includes some sort of social life for a human being — or am I going to hide in my basement?”
A Pricing Experiment | Confessions of a Group Faculty Dean For probably the most phase, vocational methods value establishments a lot more to run. They have got dear apparatus that must be maintained, they typically have smaller categories and it’s steadily tougher to search out adjunct college. Some faculties cope with the ones upper prices thru inside cross-subsidies, permitting the educational spaces to make up one of the vital monetary shortfall of the vocational ones. Others fee additional charges for vocational methods—whether or not as path charges or program charges—to assist offset the additional value. Maximum cut up the adaptation, charging extra however nonetheless now not sufficient to offset the entire value.
It seems that, Western Colorado Group Faculty is flipping the script. It’s in reality charging 40 % much less for vocational methods.
I’m intrigued. Paul Fain’s article mentions that WCCC is depending on a significant donation to make up the monetary distinction, which solutions my first query. However I’ll be desirous about seeing whether or not the transfer has an impact on enrollments, and if this is the case, amongst which teams of scholars.
Even though this possibly isn’t the purpose, I may just see it enjoying into the narrative that the liberal arts are “elitist,” versus the extra workforce-focused methods. (If sure scholars are priced out of the liberal arts and others aren’t, shall we be expecting to peer liberal arts enrollments skew prosperous.)
ameergh.com/a-pricing-experiment-confessions-of-a-group-f...
Magnolia Flower 52104561492_6ed94b918d_b
European Nightjar Nightjar in the Forest of Dean
A Gap in the Fence! 52106042805_69a5884faf_b
20180811_Great_White_DP_099-Edit Jack Russel's Great White
Photo by David Pike
20180811_Great_White_DP_135-Edit Jack Russel's Great White
Photo by David Pike
20180811_Great_White_DP_168-Edit Jack Russel's Great White
Photo by David Pike