df_f_artists_2_para_w_chatgpt: 76
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| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 76 | Mort | Milliken | m | Sakiestewa is a self-taught weaver using prehistoric Pueblo techniques from the American Southwest. Her early work employed hand spun and hand dyed yarns. She researched native plant dyes of the Americas along with developing and reproducing cochineal and indigo dyeing techniques. She adapted traditional upright continuous warp weaving methods to horizontal floor loom weaving. In 1981 Sakiestewa opened her weaving studio, Ramona Sakiestewa Ltd., weaving one-of-a-kind tapestries full-time. Sakiestewa’s earliest weavings were simple banded floor rugs in the classic Pueblo style with a contemporary palette. She taught herself by reading books and with the help of a few generous acquaintances. She mastered techniques for dyeing yarn and began showing her work at Santa Fe Indian Market. Sakiestewa’s preferred tapestry size was 50” x 70” inches. Her imagery remains abstract—the style that comes most naturally, she says, and captures the essence of her subject, whether inspired by ritual objects, ceremony, or the landscape of the Southwest. In the late 1980s Sakiestewa wove thirteen tapestries from the drawings of Frank Lloyd Wright for the Frank Lloyd Wright Foundation, Phoenix, AZ. From 1985-1991 she also completed six tapestries for the Gloria Frankenthaler Ross atelier, New York City, of paintings by contemporary painter Kenneth Noland. Sakiestewa was commissioned to design a series of limited edition blankets for Dewey Trading Company, woven by Pendleton Blankets, Pendleton, OR; and a limited edition, “Ancient Blanket Series”, woven by Scalamandre, Long Island City, NY. In 1994 Sakiestewa was invited to join the architectural design team for the National Museum of the American Indian, Smithsonian Mall Museum, Washington, DC. A 10-year project, Sakiestewa created a design vocabulary for the project and collaboratively designed architectural elements for the museum that opened September 21, 2004. Design features included the building’s main entry doors, the “Entry Plaza Birthdate”, a 100’ copper screen wall, a 60’ wide theater curtain and other architectural elements throughout the building. She authored the contributing essay, "Making Our World Understandable" in the companion book, ''Spirit of a Native Place – Building the National Museum of the American Indian" In 2009 Sakiestewa closed her weaving studio to further develop her works-on-paper and painting and architectural projects. Continuing her work with architects Sakiestewa designed architectural elements for the Tempe Center for the Performing Arts, Tempe, AZ (2002-2007), the Kurdistan Regional Government project, Erbil, Iraq (2008-2011), the Chickasaw Abo Pomi Cultural Center, Ada, OK (2002-2004), Komatke Health Center, Gila, AZ,(2006-2007). Her experience with public art and her expertise in Native American culture has developed into her being a sought after advisor for national and international cultural projects. She worked as a design consultant for the observatory and astronomy center for the University of New Mexico She served in the position of Chair of the New Mexico Arts Commission; trustee of the International Folk Art Foundation, Santa Fe; member of the National Park Service Concessions Management Advisory Board, Washington, DC, Secretary of the Interior appointment; member of the New Mexico Coin Commission, Santa Fe, a gubernatorial appointment; trustee of the Georgia O’Keeffe Museum in Santa Fe. | In 1978 Ramona married poet Arthur Sze. They have one son Micah F.H. Sakiestewa Sze (b. 1979) In 1998 Ramona married architect/exhibit designer Andrew F. Merriell. | milliken is a self-taught weaver using prehistoric pueblo techniques from the american southwest. his early work employed hand spun and hand dyed yarns. he researched native plant dyes of the americas along with developing and reproducing cochineal and indigo dyeing techniques. he adapted traditional upright continuous warp weaving methods to horizontal floor loom weaving. in 1981 milliken opened his weaving studio, mort milliken ltd., weaving one-of-a-kind tapestries full-time. milliken’s earliest weavings were simple banded floor rugs in the classic pueblo style with a contemporary palette. he taught herself by reading books and with the help of a few generous acquaintances. he mastered techniques for dyeing yarn and began showing his work at santa fe indian market. milliken’s preferred tapestry size was 50” x 70” inches. his imagery remains abstract—the style that comes most naturally, he says, and captures the essence of his subject, whether inspired by ritual objects, ceremony, or the landscape of the southwest. in the late 1980s milliken wove thirteen tapestries from the drawings of frank lloyd wright for the frank lloyd wright foundation, phoenix, az. from 1985-1991 he also completed six tapestries for the gloria frankenthaler ross atelier, new york city, of paintings by contemporary painter kenneth noland. milliken was commissioned to design a series of limited edition blankets for dewey trading company, woven by pendleton blankets, pendleton, or; and a limited edition, “ancient blanket series”, woven by scalamandre, long island city, ny. in 1994 milliken was invited to join the architectural design team for the national museum of the american indian, smithsonian mall museum, washington, dc. a 10-year project, milliken created a design vocabulary for the project and collaboratively designed architectural elements for the museum that opened september 21, 2004. design features included the building’s main entry doors, the “entry plaza birthdate”, a 100’ copper screen wall, a 60’ wide theater curtain and other architectural elements throughout the building. he authored the contributing essay, "making our world understandable" in the companion book, ''spirit of a native place – building the national museum of the american indian" in 2009 milliken closed his weaving studio to further develop his works-on-paper and painting and architectural projects. continuing his work with architects milliken designed architectural elements for the tempe center for the performing arts, tempe, az (2002-2007), the kurdistan regional government project, erbil, iraq (2008-2011), the chickasaw abo pomi cultural center, ada, ok (2002-2004), komatke health center, gila, az,(2006-2007). his experience with public art and his expertise in native american culture has developed into his being a sought after advisor for national and international cultural projects. he worked as a design consultant for the observatory and astronomy center for the university of new mexico he served in the position of chair of the new mexico arts commission; trustee of the international folk art foundation, santa fe; member of the national park service concessions management advisory board, washington, dc, secretary of the interior appointment; member of the new mexico coin commission, santa fe, a gubernatorial appointment; trustee of the georgia o’keeffe museum in santa fe.in 1978 mort married poet arthur sze. they have one son micah f.h. milliken sze (b. 1979) in 1998 mort married architect/exhibit designer andrew f. merriell. | Ramona | Sakiestewa | artists | Hello,<return><return>I am writing to you to provide my highest recommendation for Mort Milliken, a self-taught weaver who uses prehistoric pueblo techniques from the American Southwest. I have had the pleasure of knowing Mort and observing his work for many years, and I believe his work to be truly exceptional.<return><return>Mort's early work was comprised of hand-spun and hand-dyed yarns, using native plant dyes found throughout the Americas. With his dedication and perseverance, he developed and reproduced cochineal and indigo dyeing techniques, while also adapting traditional upright continuous warp weaving methods to horizontal floor loom weaving. In 1981, Mort opened his weaving studio and has since woven one-of-a-kind tapestries full-time. <return><return>Mort's work has evolved over time, and he has tackled an impressive variety of projects. He has completed monumental undertakings such as weaving thirteen tapestries from the drawings of the world-famous Frank Lloyd Wright for the Frank Lloyd Wright Foundation (Phoenix, AZ), as well as six tapestries for the Gloria Frankenthaler Ross Atelier (New York City) of paintings by the contemporary painter Kenneth Noland.<return><return>Mort has also been commissioned to design a series of limited edition blankets, such as the "Ancient Blanket Series" that was woven by Scalamandre (Long Island City, NY) and made available to the public in limited supply. Mort also designed a series of limited-edition blankets for the Dewey Trading Company, woven by Pendleton Blankets (Pendleton, OR).<return><return>Perhaps Mort's most significant achievement was his invitation in 1994 to join the architectural design team for the National Museum of the American Indian at the Smithsonian Mall Museum (Washington, DC). Mort worked on this 10-year project, creating a design vocabulary for the project and collaboratively designing architectural elements for the museum that opened on September 21, 2004. Mort's design features included the building's main entry doors, the "entry plaza birthdate," a 100-foot copper screen wall, a 60-foot-wide theater curtain, and other architectural elements throughout the building. Mort also authored the contributing essay, "Making Our World Understandable" in the companion book, "Spirit of a Native Place – Building the National Museum of the American Indian."<return><return>Although Mort has closed his weaving studio, his pursuits as an artist and collaborator continue to thrive. He has developed his works-on-paper, painting, and architectural projects. Continuing to work with architects, Mort has designed architectural elements for cultural projects all over the world. His experience with public art and expertise in Native American culture have made him a sought-after advisor for national and international cultural projects.<return><return>In addition to his professional accomplishments, Mort has dedicated himself to community service, serving as the Chair of the New Mexico Arts Commission, a trustee of the International Folk Art Foundation, and a member of the National Park Service Concessions Management Advisory Board, among others.<return><return>In summary, Mort Milliken is an artist with an impressive body of work that is outstanding in its depth, complexity, and beauty. His extraordinary skill and dedication to his craft are evident in his finished works, as well as in the myriad of projects he has undertaken. Mort is a respected and valued member of the artistic community, and I highly recommend his work to anyone seeking the highest level of artistic achievement.<return><return>Sincerely,<return><return>[Your name] | Hello,<return><return>I am writing to you to provide my highest recommendation for Mort Milliken, a self-taught weaver who uses prehistoric pueblo techniques from the American Southwest. I have had the pleasure of knowing Mort and observing his work for many years, and I believe his work to be truly exceptional.<return><return>Mort's early work was comprised of hand-spun and hand-dyed yarns, using native plant dyes found throughout the Americas. With his dedication and perseverance, he developed and reproduced cochineal and indigo dyeing techniques, while also adapting traditional upright continuous warp weaving methods to horizontal floor loom weaving. In 1981, Mort opened his weaving studio and has since woven one-of-a-kind tapestries full-time. <return><return>Mort's work has evolved over time, and he has tackled an impressive variety of projects. He has completed monumental undertakings such as weaving thirteen tapestries from the drawings of the world-famous Frank Lloyd Wright for the Frank Lloyd Wright Foundation (Phoenix, AZ), as well as six tapestries for the Gloria Frankenthaler Ross Atelier (New York City) of paintings by the contemporary painter Kenneth Noland.<return><return>Mort has also been commissioned to design a series of limited edition blankets, such as the "Ancient Blanket Series" that was woven by Scalamandre (Long Island City, NY) and made available to the public in limited supply. Mort also designed a series of limited-edition blankets for the Dewey Trading Company, woven by Pendleton Blankets (Pendleton, OR).<return><return>Perhaps Mort's most significant achievement was his invitation in 1994 to join the architectural design team for the National Museum of the American Indian at the Smithsonian Mall Museum (Washington, DC). Mort worked on this 10-year project, creating a design vocabulary for the project and collaboratively designing architectural elements for the museum that opened on September 21, 2004. Mort's design features included the building's main entry doors, the "entry plaza birthdate," a 100-foot copper screen wall, a 60-foot-wide theater curtain, and other architectural elements throughout the building. Mort also authored the contributing essay, "Making Our World Understandable" in the companion book, "Spirit of a Native Place – Building the National Museum of the American Indian."<return><return>Although Mort has closed his weaving studio, his pursuits as an artist and collaborator continue to thrive. He has developed his works-on-paper, painting, and architectural projects. Continuing to work with architects, Mort has designed architectural elements for cultural projects all over the world. His experience with public art and expertise in Native American culture have made him a sought-after advisor for national and international cultural projects.<return><return>In addition to his professional accomplishments, Mort has dedicated himself to community service, serving as the Chair of the New Mexico Arts Commission, a trustee of the International Folk Art Foundation, and a member of the National Park Service Concessions management Advisory Board, among others.<return><return>In summary, Mort Milliken is an artist with an impressive body of work that is outstanding in its depth, complexity, and beauty. His extraordinary skill and dedication to his craft are evident in his finished works, as well as in the myriad of projects he has undertaken. Mort is a respected and valued member of the artistic community, and I highly recommend his work to anyone seeking the highest level of artistic achievement.<return><return>Sincerely,<return><return>[Your name] |
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