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George Johanson - painter, printmaker, and teacher - was born in Seattle, studied art in Portland, Oregon, and lived in New York in the early 1950s before returning to Portland. Whether in New York jazz clubs and slaughterhouses, in Mexican villages, at the Rose Festival held each year in Portland, at rehearsals of the Oregon Symphony, or in life drawing sessions with artist friends, making images on paper has been a basic element for Johanson throughout his life. The haunting power of Johanson's art originates, almost always, in drawing. Johanson's art is concerned with memory and recollection, dream and fantasy, biography and autobiography, physical and imaginative detachment yet sensual engagement. He is also the painter of fires that break out in city buildings or spew from volcanoes, and he often sets fire's rampage alongside human lassitude and seeming indifference.
An Alaskan Gold Mine: The Story of No. 9 Above is a notable and tragic story of the discovery of Alaska gold in 1898. The mine had so many implications for leaders and institutions of the Evangelical Covenant Church, a tangled and contested case of ownership extending over two decades that went to the Supreme Court of the United States on four occasions. Visiting Alaska three times doing meticulous research into legal proceedings and conducting oral interviews, Carlson succeeded in crafting a compelling narrative of gold, grief, and greed. An Alaskan Gold Mine: The Story of No. 9 Above remains a classic case study of the Alaska gold rush as a whole, as well as the particular context of issues and personalities unique to the bonanza claim staked by a Covenant missionary on Anvil Creek above the boomtown Nome.

Hearings

United States. Congress. House. Committee on Interior and Insular Affairs

Published: 1953

Total Pages: 1544


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