paulseesequasis

@pseesequasis.bsky.social

A human. Curator. Writer. Photographer. Researcher.

Portrait of Adele Quinney, a Native American student at Hampton Institute, photographed in 1899-1900 by photographer Frances Benjamin Johnston. “A girl whose every physical measurement is artistically correct.” Johnston "was able to orchestrate hundreds of Hampton Black and

Portrait of Adele Quinney, a Native American student at Hampton Institute, photographed in 1899-1900 by photographer Frances Benjamin Johnston. “A girl whose every physical measurement is artistically correct.” Johnston "was able to orchestrate hundreds of Hampton Black and Native students into a transcedent visual expression of what should be... a progressive dreamscape that excised racial threats." - Laura Wexler | Collaboration: A Potential History of Photography. 
📷 Frances Benjamin Johnston | The Museum of Modern Art (MoMA)

‘Classics, in both the UK and the US, has sometimes been used as a tool of social gatekeeping, and knowledge of classics has itself been gate-kept,’ Wilson says. ‘Both these things strike me as very unfair, bad for society as a whole,

EMILY WILSON@emilyrcwilson.bsky.social · 4d ago

Here's a recommended book-list-interview, for a UK publication. For everyone who has had enough of discourse (as I certainly have): it has a tiny mention of Nolan as the hook, but then we move on to some reading. www.countryandtownhouse.com/culture/emil...

Pencils are one of the tools of my trade and this is one of the best sets I’ve been gifted: The limited edition Blackwing 574 Native American. Designed by artist Chris Pappan (Osage, Kaw, Sioux), a portion of proceeds goes to the Cheyenne River Youth Project, enriching art programs for Lakota youth.

Pencils are one of the tools of my trade and this is one of the best sets I’ve been gifted: The limited edition Blackwing 574 Native American. Designed by artist Chris Pappan (Osage, Kaw, Sioux), a portion of all proceeds goes to the Cheyenne River Youth Project, enriching art programs for Lakota youth.

The man in this photograph as Fred Long Claws Jr. (Dakota Ojibway) from Waywayseecappo First Nation in Manitoba. According to one community member, Fred stood over seven feet tall. The photograph has been attributed to Alexander J. Ross (1851-1894) a photographer known for his work

The man in this photograph as Fred Long Claws Jr. (Dakota Ojibway) from Waywayseecappo First Nation in Manitoba. According to one community member, Fred stood over seven feet tall. The photograph has been attributed to Alexander J. Ross (1851-1894) a photographer known for his work documenting First Nations people in Winnipeg before establishing his own studio in Calgary in 1884. This photograph was given to Seesequasis from a private collection, but at least 125 of Ross's photos are stored in archives like the Glenbow Archives at the University of Calgary. This photo and the collection has since been returned to the Waywayseecappo First Nation. The exact date is unknown, but it would likely be from the early 1880s. | Paul Seesequasis is a writer, curator, researcher, photographer.

Close up of a studio portrait of a young man, part of Bill Cody’s performance troupe, 'The Wild West Show', posing in a Paris studio during the 1889 World Exposition. The circular mirrors on the neck wrap stand out, as do the decorative chain deer hooves over his shoulder, and the beaded earrings.

Close up of a studio portrait of a young man, part of Bill Cody’s performance troupe, 'The Wild West Show', posing in a Paris studio during the 1889 World Exposition. The circular mirrors on the neck wrap stand out, as do the decorative chain deer hooves over his shoulder, and the beaded earrings. From the studio sessions of Roland Bonaparte, who compiled a series of portraits of nearly 100 Native American performers at the 1889 World Exposition.
© Musée du quai Branly - Jacques Chirac

Ten years later, this exhibition features Santa Clara Pueblo artist Rose B. Simpson’s second customized car, Bosque, a 1964 Buick Riviera painted in vibrant polychrome, debuting at the de young fine arts museum of San Francisco. 'Both cars

Ten years later, this exhibition debuts Simpson’s second customized car, Bosque, a 1964 Buick Riviera painted in vibrant polychrome. Both cars are presented against an expansive geometric design, evoking the environment of the Southwest and transforming Wilsey Court into a bold, contemporary expression of Pueblo pottery traditions. Through this use of scale and space, Simpson forges connections between the ancestral and contemporary, and forms a new visual vocabulary, or lexicon, to assert her cultural heritage and its continuity. Photo: Kate RussellTen years later, this exhibition debuts Simpson’s second customized car, Bosque, a 1964 Buick Riviera painted in vibrant polychrome. Both cars are presented against an expansive geometric design, evoking the environment of the Southwest and transforming Wilsey Court into a bold, contemporary expression of Pueblo pottery traditions. Through this use of scale and space, Simpson forges connections between the ancestral and contemporary, and forms a new visual vocabulary, or lexicon, to assert her cultural heritage and its continuity. Photo: Randy Dodson

If I had to describe the heart and soul of Bluesky it would the following: a guy who didn’t actually read Emily Wilson’s review of Nolan’s Odyssey movie defending it against a guy who didn’t actually watch Nolan’s Odyssey movie

"Archivists, historians, artists and other culture workers are fighting against what they see as a systematic attempt to erase and censor minority voices. Their work involves teaching the principles of collecting, retelling and preserving the stories of Black life." outliermedia.org/black-bottom...

How archivists, artists are preserving Detroit culture

Visual artists, creatives and archivists like Black Bottom Archives are working to preserve Black culture in Detroit.

outliermedia.org

Troupe members of Bill Cody's 'Wild West Show,' at leisure in Rome, Italy during the 1906 tour of Europe. Some curious, interesting poses. | 📷 Romualdo Moscioni | © quai Branly - Jacques Chirac Collections

Troupe members of Bill Cody's 'Wild West Show,' at leisure in Rome, Italy during the 1906 tour of Europe. Some curious, interesting poses. | 📷 Romualdo Moscioni | © quai Branly - Jacques Chirac Collections

Oh did a female academic with an extensive history of study and practice in a particular area of literature make a reasoned critique of a male filmmaker’s movie? I’m sure this will be handled with maximum normality.

Repairing a gill net, Kasabonika, Kenora District, Ontario c. 1952. 📷 John Macfie. From 'People of the Watershed' exhibition, opening at The North Bay Museum, North Bay, Ontario. 'This multilingual photo exhibit offers an intimate portrait of life in Indigenous communities of the Hudson’s Bay

Repairing a gill net, Kasabonika, Kenora District, Ontario c. 1952. 📷 John Macfie. From 'People of the Watershed' exhibition, opening at The North Bay Museum, North Bay, Ontario. 'This multilingual photo exhibit offers an intimate portrait of life in Indigenous communities of the Hudson’s Bay watershed, using photos by John Macfie during his work in Northern Ontario in the 1950s and 60s.
The peoples and places of Attawapiskat, Sandy Lake, and other watershed communities are seen in photos organised and circulated by the McMichael Canadian Art Collection, Kleinburg, Ontario, and curated by nîpisîhkopâwiyiniw (Willow Cree) cultural advocate, and curator, Paul Seesequasis.
Come visit the free opening reception for our new exhibit on Saturday August 1st from 6:30-8:00PM. To RSVP, email us with subject-line "Reception" to comms.outreach@heritagenorthbay.com to secure your spot at this exciting evening event.
This project has been made possible by the Government of Canada, through the Department of Patrimoine Canadian Heritage (PCH).'

Russell Lee's series of photographs of Chippewa blueberry pickers at Baaganowe-ziibi (Little Forks) Minnesota, in August, 1937, resonate with me in layers, traditional subsistence, the depression, survivance, trade (selling blueberries to settlers at the market), kinships. | US Library of Congress

Russell Lee's series of photographs of Chippewa blueberry pickers at Baaganowe-ziibi (Little Forks) Minnesota, in August, 1937, resonate with me in layers, traditional subsistence, the depression, survivance, trade (selling blueberries to settlers at the market), kinships. | US Library of CongressRussell Lee's series of photographs of Chippewa blueberry pickers at Baaganowe-ziibi (Little Forks) Minnesota, in August, 1937, resonate with me in layers, traditional subsistence, the depression, survivance, trade (selling blueberries to settlers at the market), kinships. | US Library of Congress

Now that many people are buying my 2017 metrical verse translation of the Odyssey in great numbers (thank you, Mr Nolan!), or at least, gazing at it and wondering whether to buy it, I thought I should share some thoughts on the cover design.

For all its immersive elements at the art of M.C. Escher exhibition in Montreal, designed by Italian firm Arthemisia, and curated by the Italian Escher scholar Federico Giudiceandrea, seeing the original woodcuts, retained their impact, many breathtaking | Montreal, Quebec

For all its immersive elements at the art of M.C. Escher exhibition in Montreal, designed by Italian firm Arthemisia, and curated by the Italian Escher scholar Federico Giudiceandrea, seeing the original woodcuts, retained their impact, many breathtaking | Montreal, QuebecFor all its immersive elements at the art of M.C. Escher exhibition in Montreal, designed by Italian firm Arthemisia, and curated by the Italian Escher scholar Federico Giudiceandrea, seeing the original woodcuts, retained their impact, many breathtaking | Montreal, Quebec

"Zitkala-Sa was then in Earlham College, Indiana, and she attained a reputation as an orator. In one contest, the Indian girl was grossly insulted by a crowd of college men who threw a white flag at her feet, with a rough, hideous drawing of an Indian girl,

"Zitkala-Sa was then in Earlham College, Indiana, and she attained a reputation as an orator. In one contest, the Indian girl was grossly insulted by a crowd of college men who threw a white flag at her feet, with a rough, hideous drawing of an Indian girl, and 'squaw' printed beneath it." - The Boston Journal, April 8, 1900."Zitkala-Sa was then in Earlham College, Indiana, and she attained a reputation as an orator. In one contest, the Indian girl was grossly insulted by a crowd of college men who threw a white flag at her feet, with a rough, hideous drawing of an Indian girl, and 'squaw' printed beneath it." - The Boston Journal, April 8, 1900.

Grateful that ‘Blanket Toss Under Midnight Sun’ (2019) is now earning royalty checks, small ones, but still, that means the photobook has earned out its advance (sold enough copies to cover the entire $20,000 advance). Photobooks are always niche so it means a lot, especially being even

Grateful that ‘Blanket Toss Under Midnight Sun’ (2019) is now earning royalty checks, small ones, but still, that means the photobook has earned out its advance (sold enough copies to cover the entire $20,000 advance). Photobooks are always niche so it means a lot, especially being even more niche, Indigenous archival photography.

north bay museum: ‘In recognition of the North Bay Museum’s role to preserve and advocate for the heritage and resilience of our Northern community, we wish to show the greatest respect to our fellow Northern communities affected by the ongoing wildfires. For this reason, after much consideration,

north bay museum: ‘In recognition of the North Bay Museum’s role to preserve and advocate for the heritage and resilience of our Northern community, we wish to show the greatest respect to our fellow Northern communities affected by the ongoing wildfires. 

For this reason, after much consideration, we are moving forward with our planned exhibit opening of People of the Watershed: Photographs by John Macfie on 1 August, 6:30 - 8:00 PM. This exhibit celebrates life in Northern Indigenous communities of the Hudson’s Bay watershed and showcases First Nations’ multigenerational land stewardship which prevented catastrophic wildfires. We feel that in such extraordinary times, we must not only learn from the past but realise our profound capacity to persevere in the present.’

Thinking about how Osprey, a publishing house almost entirely devoted to publishing military uniform/equipment fetish material disguised as dry but picture heavy non-fiction tomes, put out a book dismantling the right wing mythologization of Sparta with an absolute all-timer table of contents.

Table of Contents
Preface
List of Maps

PART I: THE MYTH OF SPARTA
Introduction

PART II: THE REALITY OF SPARTA
I. Cuckold Kings and Wolves' Work: Behind the Spartan Mirage
II. Archaic Sparta at War: Early Losses, Foreign Roots
III. The Greco-Persian War: The Thermopylae Speed Bump
IV. The Peloponnesian Wars: Floundering at Sea, Surrendering on Land
V. Masters of Greece? Sparta Squanders its Hegemony
VI. The Boeotian War: What Cannot Bend Must Break
VII. The End of Sparta: Irreformable and Irrelevant
VIII. Conclusion: The Bronze Lie

PART III: TANGLING MYTH AND REALITY
IX. The “Moron Label”: The Spartans and the Political Far Right
Appendix A. Historiography and Objectivity
Appendix B. The Fundamentals of Ancient Battle

Glossary
Bibliography
Index