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China has always had problems with wolves. As in all farming societies, livestock in China endured centuries of predation by wolves and other fearsomely fanged creatures. The wolf was a bogey beast, instilling terror and revulsion quite out of proportion to its deeds.
On another continent, in Europe, the wolf was the symbol of darkness and evil, of nature red in tooth and claw, of a world beyond the human that was waiting to tear the throat out of any unwary human. Those attitudes went across the sea with the invaders and occupiers of “America”, and particularly of the northern continent so named. That the wolf was sacred to the nations that had lived there for centuries before the Mayflower threw its world-shattering anchor into the bay mattered not a jot to the farmers, hunters, trappers, prospectors and sundry others who bled ever westward.
Countering the Fetishization of Indigenous Art
How contemporary Native artists are evading recognition and visibility for a more speculative indigenous futurism
In 1991, James Luna invited audiences at the Whitney Museum of American Art to stand on a small riser with him – or alongside one of three life-size, cardboard cut-outs of him shirtless in a beaded necklace or ornate headdress – to ‘take a picture with a real Indian’. It was a precipitous moment for both the institution and the wider art world: two years later, the museum would host the decisive ‘identity politics’ Whitney Biennial (curated by Thelma Golden, John G. Hanhardt, Lisa Phillips and Elizabeth Sussman) that conventional wisdom suggests began a slow tectonic shift toward greater inclusiveness and ‘globalization’. In 1992, to mark the quincentenary of Christopher Columbus’s arrival in the Americas, Coco Fusco and Guillermo Gómez-Peña toured a performance as ‘Amerindians from