Modern Spirit: The Art of George Morrison
October 24, 2013–February 23, 2014
New York, NY
The first comprehensive retrospective of a key Native American modernist, Modern Spirit: The Art of George Morrison includes drawings, paintings, prints, and sculpture that bring together concepts of abstraction, landscape, and spiritual reflection in the mind and eye of this important 20th-century artist. Half of the 80 works in the exhibition issue from the largest and most important collection of Morrison’s artwork in the country, the Minnesota Museum of American Art in St. Paul, Minnesota. The remaining works derive from important public and private collections from across the country. The exhibition is curated by W. Jackson Rushing III, Adkins Presidential Professor of Art History, and Mary Lou Milner Carver, Chair in Native American Art at the University of Oklahoma. Rushing’s teaching and scholarship explore the interstitial zone between (Native) American studies, anthropology, and art history.
Modern Spirit: The Art of George Morrison is organized by the Minnesota Museum of American Art and Arts Midwest, with the Plains Art Museum. The exhibition and its national tour are supported by corporate sponsor Ameriprise Financial and foundation sponsor Henry Luce Foundation. Major support is provided by the National Endowment for the Arts and the generous contributions of individuals across the Midwest. The exhibition will travel to six museums from 2013 through 2015.Learn more at www.mmaamorrison.org.
Before and after the Horizon: Anishinaabe Artists of the Great Lakes
August 10, 2013–June 15, 2014
New York, NY
Juxtaposing more than one hundred contemporary and modern works with historic, ancestral objects revealing the stories, experiences, and histories of Anishinaabe life in the Great Lakes region, Before and after the Horizon: Anishinaabe Artists of the Great Lakes features works by modern masters such as Norval Morrisseau, George Morrison, Blake Debassige, Daphne Odjig, and others, who, each in their own way, sought visual expression for the spiritual and social dimensions of human relations with the earth. These same sources of inspiration are visible in traditional Anishinaabe arts, such as dodem or clan pictographs on treaty documents; bags embroidered with porcupine quills; painted drums; and carved pipes, spoons, and bowls. The continuity of Anishinaabe art emphasizes traditional Anishinaabe spiritual perceptions that are very much part of Anishinaabe identity today. The exhibition provides visitors with an understanding of the Anishinaabe as contemporary citizens of North America with deep indigenous roots in the traditional Anishinaabe homeland of the Great Lakes.
Making Marks: Prints from Crow’s Shadow Press
May 17, 2013–January 05, 2014
New York, NY
Crow’s Shadow Institute of the Arts is a gathering place for contemporary artists, drawing Native and non-Native artists from around the world to its state-of-the-art printmaking studio, Crow’s Shadow Press. Its goal is to provide opportunities for Native Americans through artistic development. Crow’s Shadow was founded in 1992 by artist James Lavadour and others in a historic mission schoolhouse on the Umatilla Indian Reservation, in the foothills of Oregon’s Blue Mountains.
Making Marks: Prints from Crow’s Shadow Press features eighteen works by seven Native American contemporary artists—Rick Bartow (Wiyot), Phillip John Charette (Yup’ik), Joe Feddersen (Colville Confederated Tribes [Okanagan/Lakes]), Hock E Aye Vi Edgar Heap of Birds (Cheyenne/Arapaho), James Lavadour (Walla Walla), Wendy Red Star (Crow), and Marie Watt (Seneca)—working in collaboration with Crow’s Shadow Master Printer Frank Janzen.
Circle of Dance
October 06, 2012–October 08, 2017
New York, NY
Circle of Dance is a five-year exhibition that presents Native dance as a vibrant, meaningful, and diverse form of cultural expression. Featuring ten social and ceremonial dances from throughout the Americas, the exhibition illuminates the significance of each dance and highlights the unique characteristics of its movements and music.
Music and dance have always been essential to the spiritual, cultural, and social lives of Native peoples. Unique forms of ritual, ceremonial, and social dancing remain a vital part of contemporary community life. Everywhere dance is found, it is accompanied by distinctive Native musical styles. Rich music and dance traditions create strong ties that bind American Indian communities to all living things, to the earth, spirit world, and—when people have deep ancestral claims to their dances—to the past.
Presenting a wide range of movement styles, Circle of Dance illustrates the dynamic dances through which Native peoples maintain old ways and introduce new ones, while expressing and celebrating their strongly felt tribal, village, clan, social, and individual identities.
Infinity of Nations: Art and History in the Collections of the National Museum of the American Indian
New York, NY
This spectacular, permanent exhibition of some 700 works of Native art from throughout North, Central, and South America demonstrates the breadth of the museum's renowned collection and highlights the historic importance of many of these iconic objects.
Chosen to illustrate the geographic and chronological scope of the museum's collection, Infinity of Nations opens with a display of headdresses. Signifying the sovereignty of Native nations, these works include a magnificent Kayapó krok-krok-ti, a macaw-and-heron-feather ceremonial headdress.
Focal-point objects, representing each region, include an Apsáalooke (Crow) robe illustrated with warriors' exploits; a detailed Mayan limestone bas relief depicting a ball player; an elaborately beaded Inuit tuilli, or woman's inner parka, made for the mother of a newborn baby; a Mapuche kultrung, or hand drum, depicting the cosmos; a carved and painted chief's headdress, depicting a killer whale with a raven emerging from its back, created and worn by Willie Seaweed (Kwakwaka'wakw); an anthropomorphic Shipibo joni chomo, or water vessel from Peru; a Chumash basket decorated with a Spanish-coin motif; an ancient mortar from Pueblo Bonito in Chaco Canyon, N.M.; a gourd carved with a detailed picture of the Battle of Arica by Mariano Flores Kananga (Quechua); and an early Anishinaabe man's outfit complete with headdress, leggings, shirt, sash, and jewelry. The exhibition concludes with works by Native artists including Allan Houser (Warm Springs Chiricahua Apache) and Rick Bartow (Mad River Wiyot).