Points of Interest & Public Art

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Points of Interest & Public Art

Taxi­dermy work com­plet­ed by Ani­mal Artistry Inc. of Reno, NV

Leg­endary mush­er and char­ter inductee George Att­la, the Hus­lia Hus­tler’, cut the rib­bon at the cer­e­mo­ny to present the display. 

This spec­i­men, although no con­clu­sive tests were per­formed, is prob­a­bly a true albi­no. No col­oration was present on any part of the animal. 

John Hen­ry, an Amer­i­can born artist, is known world­wide for his large-scale pub­lic works of art, which grace numer­ous muse­um, cor­po­rate, pub­lic and pri­vate collections. 

One of her spe­cial­ties is baby belts, which fea­ture elab­o­rate flo­ral designs of beads on tanned smoked moose hide which is tra­di­tion­al­ly used to car­ry babies on their moth­ers backs. 

The bald eagle, our nation­al sym­bol, is stag­ing a come­back, from few­er than 3,999 birds (1,000 nest­ing pairs) ini the 1970’s to over 6,000 adults (3,000 nest­ing pairs) in the con­ter­mi­nous 48 states. 

Black bears are omni­vores, with their diets vary­ing great­ly depend­ing on sea­son and loca­tion. In Alas­ka they can be observed feed­ing on every­thing from dan­de­lions and grass to fish and carrion. 

The robe is called the 1964 Earth­quake robe because it com­mem­o­rates the Good Fri­day earth­quake, which Rofkar expe­ri­enced first-hand. 

Hoover had become known for mask­like trip­tych pan­els that unfold to show hid­den rela­tion­ships between humans, ani­mals and the world of spirits. 

Bronze stat­ue of a Bush Pilot 

But­ton robes are among the most vis­i­ble and impor­tant cer­e­mo­ni­al gar­ments worn by peo­ples of the North­west Coast. These wool blan­ket fab­ric robes have a promi­nent crest on the back and are made by artists up and down the coast from Wash­ing­ton to Alaska. 

A ceil­ing mosa­ic designed from the acute per­spec­tive of look­ing up along birch trunks in the north­ern, bore­al for­est. The dif­fer­ent thick­ness­es of glass smalti, var­i­ous mar­ble and gran­ite pieces cre­ate a rich, com­plex sur­face that responds to the chang­ing light in the clerestory 

This pad­dle, tra­di­tion­al­ly used by hunters and in cer­e­monies, is a tes­ta­ment to the ele­gance of old-style Aleut & Alu­ti­iq art. 

Coiled Bas­ket made of pine needs 

Bas­kets made of sub­tle col­ors and bal­anced graphics. 

Don’t for­get to look up as you trav­el in moun­tain­ous ter­rain because you nev­er know when a group of sheep will make their appearance. 

Depar­ture” is an expres­sion of the effect that Alas­ka has had on my mem­o­ry. It is a col­lage of mem­o­ries, reflec­tions and obser­va­tions of the time I have lived in Alas­ka and the respect I have for its grandeur, wildlife and people. 

The mechan­ics of the decend­ing planes plans flight, as visu­al­ized and con­truct­ed with the ear­ly mate­ri­als of air flight: wood and stretched fabric. 

The red paint on the han­dle mim­ics the tra­di­tion­al red ochre pig­ment found in South­east Alaska. 

This project rep­re­sents Carther’s largest sin­gle piece yet under­tak­en. It con­sists of nine tow­ers of glass, col­lec­tive­ly adding up to 42 meters (130 feet) of span and reach­ing to 8 meters (26feet) at its high­est point. 

From the most inti­mate and per­son­al scale up to a grand archi­tec­tur­al set­ting, beads pro­vide tiny cel­lu­lar build­ing blocks with which to explore an infi­nite vari­ety of forms and patterns. 

Made of Spruce wood, con­crete, seal­ers and oil paint, over steel armature. 

Made of Win­ter bleached seal­skin and seal intestine. 

The term griz­zly” in its name refers to griz­zled” or grey hairs in its fur. These pow­er­ful hunters of the Norther are nor­mal­ly soli­tary, active animals. 

Ruby Eningowuk, an Inu­pi­aq artist, prefers to make items that will be used rather than sim­ply collected 

The sculp­ture is a focal point which allows vis­i­tors to ori­ent them­selves in the large space. To achieve this, I placed a large three dimen­sion­al glass relief at the head of the esca­la­tors and stairs. 

Made of red cedar, sinew lash­ing, acrylic paint. 

Made of alder wood, com­mer­cial paint, cop­per, abolone 

The muskox is an Arc­tic mam­mal of the Bovi­dae fam­i­ly that is known for its thick coat and the strong, musky’ odor emit­ted by males, from which its name is derived. The odor helps attract females dur­ing the mat­ing season. 

Elliott is a well­known carv­er, who began carv­ing when he worked in min­ing jobs in Nome. Emma is a doll­mak­er and she and Elliott worked togeth­er to cre­ate the whale­bone fig­ures in this exhibit. 

This Fairchild 24G was built in the ear­ly 30’s and saw heavy usage as both a civil­ian and mil­i­tary plane. 

New York based artist Ron Baron con­sid­ers his art a form of cul­tur­al archae­ol­o­gy. “ Inspired by arti­facts pro­duced by Amer­i­can cul­ture he cre­ates sculp­tures that reflect our soci­ety and its indi­vid­u­als”. Each art­work is a col­lec­tion of sec­ond-hand objects — a tes­ti­mo­ny to the indi­vid­u­als who acquired and used them”. In the spring of 2010 Baron was com­mis­sioned by the Ted Stevens Anchor­age Inter­na­tion­al Air­port and made his first visit…  ...more

Ron Senunge­tuk grew up in Wales, Alas­ka where he learned tra­di­tion­al ivory carv­ing and then con­tin­ued more for­mal art study at Mt. Edge­cumbe High School in Sit­ka. He pur­sued wood­work and met­al-smith inter­ests at School for Amer­i­can Crafts­men of the Rochester Insti­tute of Technology. 

Sonya Kel­li­her-Combs was raised in the North­west Alas­ka com­mu­ni­ty of Nome. Her Bach­e­lor of Fine Arts degree is from the Uni­ver­si­ty of Alas­ka Fair­banks and Mas­ter of Fine Arts is from Ari­zona State University. 

Like most func­tion­al North­west Coast art, pad­dles were his­tor­i­cal­ly dec­o­rat­ed with the clan and crest sym­bols of their own­ers. The flash of a pad­dle by kins­men enter­ing a coastal vil­lage for a pot­lach or oth­er fes­tiv­i­ties once served to under­score the pow­er and pres­tige of those who approached by canoe. 

Polar bears are of spe­cial inter­est because of their large size, white col­or and as a car­ni­vore in a large­ly unknown remote envi­ron­ment. They occur only in the north­ern hemi­sphere and near­ly always in asso­ci­a­tion with sea ice. 

Per­ma­nent col­lec­tion of the Anchor­age Muse­um of His­to­ry and Art, Doy­on Native Cor­po­ra­tion, Smith­son­ian Insti­tute, Yuga­travik Muse­um, Yukon Kuskok­wim Health Cen­ter, and the Alas­ka Native Med­ical Center. 

Sylvester is a sculp­tor with art­work in per­ma­nent col­lec­tions in Anchor­age and at the Smithsonian. 

This doll by Car­o­line Penayah is wear­ing the tra­di­ton­al one-piece gar­ment called a Qal­l­e­vak worn by women and chil­dren of Saint Lawrence Island. 

The dis­tinc­tive style of ivory carv­ing from Nuni­vak Island fea­tures styl­ized ani­mals, with pierced open­ings and min­i­mal red and black engraved features. 

This sculp­ture is based on the shape of a Kore­an tra­di­tion­al pago­da, har­mo­niz­ing two cities, Anchor­age and Incheon Met­ro­pol­i­tan City, Korea, in a noble statue. 

Masks from Nuni­vak Island often have a cen­tral ani­mal fig­ure sur­round­ed by one or more rings with styl­ized appendages insert­ed around the rings. Nuni­vak Island mask carv­ing tra­di­tions con­tin­ued after mis­sion­ary influ­ence, as they were no longer made for wearing. 

The col­laged imagery poet­i­cal­ly depicts real land­scapes and both nat­ur­al and man-made ele­ments of the environment. 

The pan­els are deep-relief and tex­tur­al. Mate­ri­als include hand carved wood pieces, alu­minum and lay­ers of pigment. 

The sweep­ing view of Pot­ter’s Marsh south of Anchor­age is a fam­i­li­er one to Alaskans as they leave the city. 

This is a series of pieces by Dana Bous­sard. The series con­tins a total of 14 paint­ed and pieced car­pet pan­els, each depict­ing a dif­fer­ent ani­mal but all have a sim­i­lar U’ shaped design ele­ment at the bottom. 

Three Anchor­age artists were asked to paint their vison’ of what the Anchor­age Air­port of the Future would look like. 

Three Anchor­age artists were asked to paint their vison’ of what the Anchor­age Air­port of the Future would look like. 

Three Anchor­age artists were asked to paint their vison’ of what the Anchor­age Air­port of the Future would look like. 

The artist is Aleut, and lives in his home vil­lage of Naknek as a sub­sis­tance fisherman. 

Locat­ed in the South ter­mi­nal, Lev. 2, Food court 

The wolf occurs through­out Alas­ka. Their range includes about 85 per­cent of Alaska’s 586,000 square-mile area. 

Denise Wal­lace’s jew­lery, with its mov­able and con­cealed parts, draws on the thems of con­cel­ment, awak­en­ing, and transformation. 

Tak­en by Ken­neth M. Eber­le, D.D.S., M.S. on a solo hunt May 5th1996

Caught by Jack Tragis on June 11, 1996 near Unalas­ka, Alas­ka. This mon­ster was 95″, 459 lbs, 31 yrs old. 

This great spec­i­men was har­vest­ed on April 20, 1997 by Anchor­age res­i­dent Will Gay. Mount­ed by Dan Fos­ter at Fos­ter’s Taxi­dermy in Wasil­la, AK. The bear has a skull score of 30 1016 inches.