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Named for the war machine with which the ancient Greeks surprised the Trojans, Frohawk’s horse holds some surprises of its own — it sports two heads and is filled with warriors from both sides of the quarrel.Glass figures, they are fragile and exhausted from the wars.In 2014 he was selected for the national survey exhibition This exhibition is the final episode in the artist’s series on Colonial America, his successful combining of art, history, and sometimes wicked but always fun-to-read commentary on people — Europeans adventurers and explorers, North American Indians, freed and enslaved blacks, and ravishing women who love, laugh, and die on the banks of the Hudson from Manhattan up to Lake Oneida.The action begins in 1791 and continues through 1793, real time for New York City just flaunting its new identity on the southern tip of the island of Manhattan, and thriving under English rule.

For Frohawk followers, favorite characters reappear, too, among them Bonnie Prince Johnnie and his flamboyant general Orlande, Duc du Rouen, who “admidst his shit-colored crew was a gilded peacock with sapphires for eyes.” Umar Rashid (Frohawk Two Feathers), an Illinois native who now lives and works in Los Angeles, California, first studied photography, film, and writing at Southern Illinois University at Carbondale.It’s not marble, it’s not bronze, but it is sculpture ─ bright and bouncing.Jimmy Kuehnle’s inflatables are exciting art form and witty commentary on our interests and enthusiasms.People tend to turn to Washington and look for his image during trying times such as Washington’s own death in 1799 and during the Civil War in the 1860s as well as in times of celebration at the Centennial of the United States in 1876, and the Bicentennial of Washington’s birth in 1932. The successful visual promotion of Washington to his public was adopted by the presidents who followed as they sought visual presence before the public.By Abraham Lincoln’s time from 1861 to 1865, photographs like paintings less than a century before became the vehicle for showing the president at work. In each, the president is seated, his wife and children surrounding him, a grouping that reflects the 19th-century’s idealization of domestic life and that society’s desire to see its leaders as moral men.

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