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- Beautiful and thought-provoking contemporary Native Art Now! exhibit will inspire November 1, 2017
Do you want to see contemporary art that is surprising, challenging and intriguing? Such engaging artworks await you at the Eiteljorg Museum’s new exhibition Native Art Now!, which opens the weekend of Nov. 11-12. As home to one of the nation’s best collections of contemporary Native art, the Eiteljorg will showcase some of the most visually compelling pieces it has acquired over the past two decades. Native Art Now! will be on exhibit at the Eiteljorg until Jan. 28; then it will travel to other museums around the nation. So what exactly distinguishes contemporary Native art from other contemporary art? “The difference between a contemporary artist and a contemporary Native artist is about 15,000 years,” explained Jennifer Complo McNutt, curator of contemporary art at the Eiteljorg. “Contemporary Native artists have knowledge about their ancestors, traditions and cultures that spans thousands of years. That changes the way you see the world.” Native contemporary artists had not received the same recognition as other contemporary artists, Complo McNutt said, but now the contemporary Native art field is coming into its own, admired and appreciated by scholars and collectors alike. That brings us to Indianapolis. To help support and sustain contemporary Native art, the Lilly Endowment Inc. for two decades has supported the Eiteljorg Contemporary Art Fellowship. Every other year since 1999, the Fellowship program has selected a new group of five Native artists and provided them grant support to further their careers and receive recognition. The Eiteljorg has purchased more than 200 contemporary works and received gifts of another 200 to add to its permanent collection. Thirty-nine significant examples are in Native Art Now! and will be on view in the museum’s special exhibition gallery. Dynamic and vibrant, the exhibit depicts the broad spectrum of Native art. You’ll see installations, paintings, photographs, prints, sculptures, glass, and textile art by Indigenous artists from across the U.S. and Canada, such as Rick Bartow, Jim Denomie, Harry Fonseca, Nicholas Galanin, Meryl McMaster, Holly Wilson and others. Many pieces speak to injustices against Native peoples and the resilience of Native cultures. Others encompass innovative styles and mediums, and are open to interpretation. And what would a Native art show be without Indian humor? You will experience that, too. The traveling exhibit is one part of the Native Art Now! project. The weekend of Nov. 11-12, the Eiteljorg will host a celebration and convening of leading Native artists and scholars. It will include a facilitated dialogue, moderated by a nationally known art and social justice expert, Betsy Theobald Richards, to consider the past, present and future of contemporary Native art, as well as the future of the Eiteljorg Contemporary Art Fellowship. The Eiteljorg and WFYI also collaborated on a one-hour documentary that presents personal perspectives on Native contemporary art. It is scheduled to air at 8 p.m. Thursday Dec. 14 on WFYI-TV 20.1. The museum has produced a scholarly companion book for Native Art Now! that examines Native expression in contemporary art since 1992. When seeing Native Art Now!, don’t miss two other exhibits of contemporary Native art now on view at the Eiteljorg: In Their Honor, in the Hurt and Harvey galleries, and The Geometry of Expression, in the Myrta Pulliam Photography Gallery. NATIVE ART NOW! OPENING CELEBRATION AND CONVENING SCHEDULE OF EVENTS: SATURDAY, NOV 11 Artists and scholars will convene for a dialogue led by Betsy Theobald Richards. The morning and afternoon events and lunch together are $30 per person or $15 for students. 10 a.m. to noon: Facilitated discussion Noon to 1 p.m.: Buffet lunch 1–3 p.m.: Preview of clips from the Native Art Now! documentary followed by roundtable discussions. 5–9 p.m.: Native Art Now! exhibit opening celebration. This evening event is $50 for members and $60 for nonmembers. SUNDAY, NOV 12 10:30 a.m. to noon: Fellowship artists convening led by Betsy Theobald Richards. The Eiteljorg Fellows will deliberate on the Fellowship to help forge its future. This event is included with general admission and the public is invited to attend, but please register. To register to attend any of the events, contact Mary Whistler at 317.275.1316 or email@example.com by Nov. 3 or log onto www.eiteljorg.org/NativeArtNow. Image Captions: James Lavadour (Walla Walla, born 1951) Naming Tanager, 2001 Oil on wood Museum Purchase: Eiteljorg Fellowship. Acquisition in honor of Bonnie Reilly for her long service to the museum’s Collections Council. Rick Bartow (Wiyot, 1946—2016) Fox Spirit, 2000 Mixed media Gift: Courtesy of Penny Ogle Weldon in memory of Kenneth L. Ogle, Jr. Holly Wilson (Delaware Tribe of Western Oklahoma/Cherokee, born 1968) Enough, 2015 Bronze Museum Purchase: Eiteljorg Fellowship This article originally appeared in the November 2017 issue of Storyteller magazine.
- Grafton Tyler Brown: An important new acquisition October 24, 2017
Visitors to the Eiteljorg starting in November 2018 will experience beautifully reimagined Western art galleries. The best of our collections will be featured; and new experiences through technology will help convey the history and meaning of the art. The best of works from the Harrison Eiteljorg, George Gund, and K. S. “Bud” Adams collections will be shown in the best light, and will be joined by works acquired to fill gaps in the overall collection. The good news is that one of the newly acquired paintings is on exhibit right now, and it will be part of the galleries and our efforts to demonstrate the broader diversity of Western art by artists from many national and cultural backgrounds. Now featured in the Gund Gallery of Western Art is a notable painting by Grafton Tyler Brown. Born in Pennsylvania in 1841, Brown moved to San Francisco and worked as a lithographer and commercial artist. Brown was one of a small number of recognized African American painters to work in the West in the 1800s. He became known for creating and publishing cityscapes, business documents and maps. Later he was known for his paintings of the Western landscape, settling for a time in Oregon, British Columbia and Montana. His last years were spent as a draftsman and map maker in St. Paul, Minnesota. Grafton Tyler Brown’s depictions of Yosemite, Yellow-stone and the mountains of the Pacific Northwest are represented in a select few museum collections. Castle Geyser, Yellowstone, was sketched on-site by Brown on Sep. 6, 1890, and the canvas was completed in 1891 at his Helena, Montana, studio. The work reminds us that people with diverse roots have been a part of the Western experience, and that the traces of their lives are something we can all see and appreciate. The work also helps to expand the museum’s holdings of landscape views of the American West. Image Captions: Grafton Tyler Brown (1841-1918) Castle Geyser, Yellowstone, 1891, oil on canvas Museum purchase through the generosity of Harrison Eiteljorg Grafton Tyler Brown at work in Victoria, British Columbia, in 1883. Courtesy of Royal BC Museum, BC Archives, Victoria. This article originally appeared in the November 2017 issue of Storyteller magazine.
- Celebrate Native American Heritage Month at the Eiteljorg October 23, 2017
November is National Native American Heritage Month and what better way to celebrate than by visiting the Eiteljorg. Peruse the museum galleries, join in a curator tour, see Native Art Now! and meet two incredibly talented Native artists visiting Indianapolis to inspire visitors and showcase their beadwork skills. Here is a sampling of what’s in store for November. Curator’s Choice Tour: Cut Fold, and Sew: The Miami, Potawatomi and Delaware Arts of Ribbonwork with Dr. Scott Shoemaker, the Thomas G. and Susan C. Hoback curator of Native American art, history and culture. Nov. 3 at noon. Native Art Now! Don’t miss this exhibit of iconic contemporary Native art from the Eiteljorg’s permanent collection. Opens Nov. 11. Artist in Residence: Karen Ann Hoffman (Oneida) Award-winning artist Karen Ann Hoffman creates beautifully decorative pieces using Iroquois raised beadwork. Her work has been displayed across the nation and is in the permanent collection of the Smithsonian National Museum of the American Indian, the Wisconsin Historical Museum and other institutions. Meet Karen and learn about her art and culture during open studio sessions on Nov. 11, 18 and 25. She will also teach a brooch-making workshop on Nov. 22. Artist in Residence: Katrina Mitten (Miami Tribe of Oklahoma) Beadwork artist Katrina Mitten creates embroidery-style beadwork traditional to Native peoples of the Great Lakes. She has won numerous awards for her work over the years and her pieces can be seen in museums around the nation. On Nov. 24 and 25, meet Katrina, learn about her Miami culture, and watch as she demonstrates beadwork techniques. Visit www.eiteljorg.org/explore/calendar for the latest information about art-making events and opportunities to meet artists. Image caption for Native Art Now! image at top: Mario Martinez (Pascua Yaqui, born 1953) The Conversation, 2004 Acrylic and charcoal on canvas Museum Purchase: Eiteljorg Fellowship This article originally appeared in the November 2017 issue of Storyteller magazine.
- Artistry and Excellence: A conversation with Betsy Theobald Richards about Native Art Now! October 23, 2017
To lead the dialogue at a convening of scholars and top contemporary Native artists, the Eiteljorg has selected a nationally known art and social justice expert: Betsy Theobald Richards (Cherokee Nation). With two decades of experience in philanthropy, arts education, advocacy and theater directing and producing, Richards served at the Pequot Museum and Ford Foundation and now is program director for The Opportunity Agenda. With a passion for Native art (her aunt is the renowned artist Kay WalkingStick), Richards designed the format of the facilitated conversations she will lead at Native Art Now! on Nov. 11-12 that will examine the future of contemporary Native art. Storyteller magazine recently interviewed Richards about the program, and her comments are lightly edited for space: On why she designed the format of the Native Art Now! gathering of artists and scholars to include facilitated roundtable discussions: “I put the suggestion out there that (the Eiteljorg) might want to try something I had tried at one of my biggest convenings called ‘Creative Change’ . . . which was how to take a large group of incredibly talented, visionary folks, and have them have a dialogue. That isn’t what we normally have, which is panels where four people sit up on the dais and talk at people and take questions. I tried to help design a format that will allow people to have dialogue among themselves, to have thought leaders for folks that begin conversations; but that the conversation then becomes owned by the group.” On what insights she expects participants will gain from the facilitated dialogue with artists: “What I hope is to get everybody thinking to create a space where people can think as big as possible about the future. Not just, ‘Five years from now we should have this program or two more exhibitions in a year,’ not just the tactics or mechanical outcomes, but really have time for some dreaming. Dreaming is a very powerful thing.” On the challenges that contemporary Native artists face today that will provide context for the discussions: “Contemporary Native art is contemporary art . . . Often contemporary Native art is sidelined. Some people are interested in historical or ethnographic pieces; but our artists are living treasures. They deserve to make a living . . . We should all appreciate the artistry and the excellence of these contemporary artists.” On the key points that should be conveyed to funders about the importance of supporting contemporary Native art: “We forget as Americans that we are on Native land and that our Indigenous cultures are an asset, something very special to this country. I think that we need to start understanding — not just funders, but America in general — what an incredible asset of our heritage and our future that our Native cultures are. And one of the most visible and powerful ways to exhibit our living cultures is through our art . . . We are living cultures, and these artists are upholding our living cultures in magnificent ways just as our ancestors did . . . If funders and the general public want to support Native communities, one of the many ways is to support Native culture (through art). Also, Native art is cool. I think people need to buy some Native art.” On her social justice work and how that relates to the convening of Fellowship artists: “A lot of my work is around incorporating art, culture, pop culture and media into the work of social change. And I have continued in my work in Indian Country and am as dedicated as ever to Native American art and culture; and hopefully I’ll be bringing the skills that I’ve learned, both around facilitation and around how to advance a dialogue, to this convening.” NATIVE ART NOW! OPENING CELEBRATION AND CONVENING SCHEDULE OF EVENTS: SATURDAY, NOV 11 Artists and scholars will convene for a dialogue led by Betsy Theobald Richards about contemporary Native art. The morning and afternoon events and lunch together are $30 per person or $15 for students. 10 a.m. to noon: Facilitated discussion Noon to 1 p.m.: Buffet lunch 1–3 p.m.: Preview of clips from the Native Art Now! documentary followed by roundtable discussions. 5–9 p.m.: Native Art Now! exhibit opening celebration. This evening event is $50 for members and $60 for nonmembers. SUNDAY, NOV 12 10:30 a.m. to noon: Fellowship artists convening led by Betsy Theobald Richards. The Eiteljorg Fellows will deliberate on the Fellowship to help forge its future. This event is included with general admission and the public is invited to attend, but please register. To register to attend any of the events, contact Mary Whistler at 317.275.1316 or firstname.lastname@example.org by Nov. 3 or log onto www.eiteljorg.org/NativeArtNow. Image caption: Kay WalkingStick (Cherokee Nation) Wallowa Memory, 2003 Lithograph Gift: Courtesy of the artist Photograph of Betsy Theobald Richards is courtesy of The Opportunity Agenda. This article originally appeared in the November 2017 issue of Storyteller magazine.
- Popular holiday tradition Jingle Rails returns this year with new Hollywood theme October 23, 2017
Since it first opened in 2010, Jingle Rails: The Great Western Adventure has become a cherished Indianapolis holiday tradition for families. The extraordinary miniature train attraction returns to the Eiteljorg on Saturday, Nov. 18. In Jingle Rails, nine G-scale trains chug along nearly 1,200 feet of track through iconic scenes and landmarks of the West that visitors are sure to recognize. Made of all-natural materials such as bark, twigs and acorns, the backdrops are decked out in bright, festive holiday lighting. One of the most affordable holiday attractions in Indianapolis, Jingle Rails is included with regular admission, and children age 4 and under are free. The Jingle Rails adventure begins in the museum’s Clowes Court, where a miniature train departs from a scaled-down version of downtown Indianapolis. It swings past replicas of Monument Circle, Lucas Oil Stadium, Union Station and the Eiteljorg itself. After exploring the Circle City, visitors follow the trains to other displays depicting the iconic landmarks of the American West. You’ll see recreations of national parks and lodges, a Northwest Coast Native village, an Aspen ski resort and wonders — both natural and man-made — including Mount Rushmore, Mesa Verde, the Grand Canyon, Yosemite, Old Faithful, Hoover Dam, Golden Gate Bridge and more. There is an exciting addition this year: Visitors will be able to experience Hollywood and see familiar landmarks such as Grauman’s Chinese Theatre, the Warner Bros. water tower, the Griffith Park Observatory and, of course, the iconic Hollywood sign. The display is thanks to a generous donation from the Kortepeter Family, who have committed to supporting a new addition to Jingle Rails each year. The Hollywood backdrop also includes a replica of a traditional Western movie set, complete with a saloon, bank and sheriff’s office — a nice lead-in to the museum’s upcoming 2018 special exhibit, The Reel West. Opening March 3, The Reel West will examine how Hollywood movies and television have shaped the public’s ideas of the American West. From its inception seven years ago, Jingle Rails has expanded in size, scope and popularity. The must-see attraction extends from Clowes Sculpture Court into Eagle Commons. Families can again pose for a keepsake photo next to a towering replica of a locomotive steam engine — created from tree roots and honeycomb — that was a recent addition in 2016. Visitors also will enjoy a birds-eye view of each train by exploring the interactive kiosk. Jingle Rails was designed and built by Paul Busse and his talented crew of creative artists, botanical architects and landscape designers at Applied Imagination. Based in Alexandria, Kentucky, the nationally-recognized team has created similar railway exhibitions for the New York Botanical Garden and the United States Botanical Garden in Washington, D.C. Over the years, Jingle Rails has received national acclaim. It was featured in a Chicago Tribune article highlighting popular Midwest holiday attractions. Fox News Travel recognized Jingle Rails in an article titled, “See the world in miniature: 12 of the most incredible model railways.” USA Today also recognized Jingle Rails as a “10 Best” Indianapolis holiday attraction. Last year, more than 40,000 guests experienced the holiday railway. All the while, a dedicated team of staff, volunteers and model-railroading enthusiasts keep the trains and display running smoothly. Jingle Rails: The Great Western Adventure will remain open until Jan. 15. Don’t miss this captivating and beloved holiday tradition. JINGLE RAILS: THE GREAT WESTERN ADVENTURE At the Eiteljorg Museum Nov. 18 to Jan. 15 Included with regular museum admission (except on Jan. 15 (Martin Luther King Jr. Day; admission is free on that date only.) This article originally appeared in the November 2017 issue of Storyteller magazine.
- Perspective: Every Second Monday in October and Why Not Indigenous Peoples Day? October 9, 2017
This week of October 9, 2017, will consist of many reminders about one of my least favorite historical figures, Christopher Columbus. For instance, today is Columbus Day observed. Then this Thursday October 12, 2017, it will be the actual 525th anniversary of Columbus arriving, lost, on the shores of the Bahamas. And I have already seen countless advertisements of Columbus Day sales for mattresses, department stores, and what have you, and I can tell you, I am not inspired to shop. And I like to shop! Every Columbus Day, observed and actual, I wear all black clothing for it is a day of mourning, in my opinion. Backed by Spain (although he was Italian), Columbus (born Cristoforo Colombo) was in search of a trade route to the Far East. When he arrived in the Caribbean, he believed he had “discovered” India, so he monikered the people (who had welcomed this stranger politely), “Indians.” Because these people were not Christianized, Columbus, during each trip to what is now called Central and South America, claimed the land and resources for Spain. Speaking of resources, Columbus wanted the gold that he saw the people wearing so he began to demand it — and over a short period of time — more and more of it. He invented methods to punish the people who did not procure enough gold in ways I do not care to elaborate. But I can tell you this much, I never wear gold in memoriam of all of the Indigenous people who were tortured and killed for this gold lust. Until that time, gold had mainly been collected from the Ivory Coast of Africa. Due to Columbus’ new system of supply and demand, the “idea” of trading slaves from Africa to replace the decreasing gold supply (and thereby create a new market), occurred. Thus, the introduction of transatlantic slavery was born. Did you know that Columbus never landed on North American soil and that Columbus Day was not an official federal government holiday until 1937? So why do we continue to honor Columbus whose influence introduced disease, rape, and massacre, or, the colonization of the Americas? I want to pay homage to the cities in the U.S. whose citizens voted that they would rather observe a celebration honoring Indigenous Peoples Day and not Christopher Columbus. Seattle, Washington; Portland, Oregon; Berkeley, California, Phoenix, Arizona; Minneapolis, Minnesota; Asheville, North Carolina; and Ann Arbor, Michigan, are some of the cities that no longer observe Columbus Day. And, who, in my humble opinion, totally rock for taking a stand to say “no, we will no longer celebrate a harbinger of death and colonial figure!” For many reasons, it behooves us to change Columbus Day to Indigenous Peoples Day. Despite the millions of Indigenous peoples who perished as a result of contact with Europeans who travelled to all of the Americas after 1492, we Indigenous peoples are still here. In the U.S., we are 4 million-strong and growing. There are still several millions of Indigenous peoples in Central and South America too, despite history recording these peoples as Latin Americans. Most of you know and are friends with Indigenous peoples, and we have a lot to offer to not only this country, but to the entire world. So the true celebration is in our resiliency and survival, our strength and perseverance, and our sense of humor and personalities. There are so many, many reasons to retire Columbus, ceremonially and officially. So please join me in greeting one another today (and on Thursday, Oct. 12) with “Happy Indigenous Peoples Day!” Dorene Red Cloud (Oglala Lakota) wrote this opinion piece for the Eiteljorg blog.
- Day of the Dead celebration brings community together September 25, 2017
What comes to mind when you conjure up images of Día de los Muertos (Day of the Dead)? A somber memorial? Gruesome Halloween ghouls? Well, picture vibrant swirling color, lively music, dancing calavaras (skeletons), rhythmic sounds of hammers making punched-tin treasures, laughter as children enjoy delightful papel picado (cut paper) creations, beautiful Catrinas dressed for a parade and elaborate ofrendas (altars) created to honor deceased loved ones. It’s all part of Nopal Cultural’s annual Día de los Muertos Celebration at the Eiteljorg Museum. What is Día de los Muertos? With roots going back thousands of years to indigenous traditions in Mexico, this holiday is a time to gather together to remember and celebrate friends and relatives who have passed on. Day of the Dead has evolved into a diverse festival, celebrated not only in Mexico but in the U.S. and many other countries. During this two-day holiday for honoring the dead, tradition holds that souls are allowed to return home and celebrate among the living, if only for a few short hours. Meanwhile, living relatives work hard to clean and decorate gravesites with fragrant, colorful cempasuchil (marigold) flowers and construct elaborate altars with photographs, food and drink. Some communities even hold town-wide festivals culminating in parades and special dances. Join us in celebration Join Nopal Cultural and the Eiteljorg in celebration on Saturday, Oct. 28. Because this is a special holiday, museum admission will be free to everyone on that date. Festivities include dance performances, art-making, a mercado (marketplace), music, ofrendas, a Catrina parade, artist-in-residence Richard Gabriel, Jr., who specializes in Spanish Colonial tinwork and so much more. The event is sponsored by the Lopez Law Firm and The Penrod Society. DAY OF THE DEAD CELEBRATION OCT 28 Saturday, 11 a.m.-5 p.m. FREE Admission A special exhibit of ofrendas (altars) will be on exhibit in the Lilly Theater from Oct. 10 – Nov. 2 and seeing it is included with the regular museum admission cost — with the exception of Oct. 28, when admission to the Eiteljorg Museum is free.
- Out West™ film screening and discussion: Matt Shepard is a Friend of Mine September 25, 2017
The Out West™ programming series explores the positive contributions of the LGBTQ community to the history and cultures of the American West. In the next installment of that series, the Eiteljorg Museum on Oct. 21 will host a screening of the documentary Matt Shepard is a Friend of Mine, followed by a panel discussion with the film’s director, Michele Josue, who also was a close friend of Shepard. The film relates the story of Matt’s life and the larger impact of the tragic and fatal hate crime on Oct. 6, 1998 against Matt, who was a gay freshman at the University of Wyoming. Excerpt of statement by director Michele Josue: “The murder of Matthew Shepard was a devastating tragedy that made countless headlines around the world. As people denounced the hatred and senseless violence that caused Matthew’s death, a much-needed dialogue about hate crimes and intolerance against the LGBT community began and continues to this day. His tragic story brought the reality of inequality and vicious, irrational contempt into the public consciousness and set the stage for the landmark Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act, which President Barack Obama signed into law in 2009. “Though framed through a very personal lens, Matt Shepard is a Friend of Mine tells a universal story that highlights the responsibility we have now to make sure young people around the world are not at risk of falling victim to the same story ending Matt was.” Image caption: Filmmaker Michele Josue is seen in this personal photograph with her childhood friend, Matthew Shepard. Josue is the director of a documentary film, Matt Shepard is a Friend of Mine that will be screened at the Eiteljorg on Oct. 21 followed by a discussion with the director OUT WEST™ AT THE EITELJORG OCT 21 Saturday, 1 p.m. The event is included with regular museum admission. Eiteljorg members are free.
- Contemporary art in the spotlight in months ahead September 12, 2017
Fall is an exciting time for Native American contemporary art at the Eiteljorg. Two ongoing exhibitions, In Their Honor and The Geometry of Expression, examine the work of several Native contemporary artists. These are prelude to one of the most important contemporary art shows the Eiteljorg has ever staged: Native Art Now!, opening Veterans Day weekend. The current and upcoming exhibitions exemplify the broad continuum of Native expression, often with conceptual pieces, upending the notion that Native art is narrow in its mediums and styles. “We in Indianapolis can be proud of the fact that the Eiteljorg has one of the nation’s best collections of contemporary Native art, and visitors over coming months can experience many intriguing examples of works by today’s artists,” Eiteljorg President and CEO John Vanausdall said. Located in the Hurt and Harvey galleries, In Their Honor pays homage to five influential Native contemporary artists, now deceased, who were past fellows in the Eiteljorg Contemporary Art Fellowship. Visitors will be engaged by the expressive sculptures by Allan Houser, poignant paintings and prints from George Morrison and Harry Fonseca, animal-human transformational figures by John Hoover and compelling paintings and sculptures by Rick Bartow. All five artists were groundbreakers whose works were exhibited in numerous museums and universities and who opened doors to the art world for a new generation of contemporary Native artists. Produced by Jennifer Complo McNutt, Eiteljorg curator of contemporary art, In Their Honor will be on exhibit through April 1, 2018. Nearby in the museum’s Myrta Pulliam Gallery of Photography, prints by three living Eiteljorg Fellows — Kay WalkingStick, Anna Tsouhlarakis and Wendy Red Star — use geometry in thought-provoking ways and undoubtedly will foster discussion. The exhibit, The Geometry of Expression, was produced by Dorene Red Cloud, assistant curator of Native American art, and will be up through Jan. 7, 2018. Both exhibits build anticipation for the Nov. 11 public opening of Native Art Now!, a retrospective of some of the archetypal work of Eiteljorg Contemporary Art Fellowship artists over the past 20 years. The 39 works, some of them newly purchased and not shown before, will include paintings, photography, sculpture and three large installations in the special exhibit gallery. Native Art Now! will be accompanied Nov. 11-12 by a convening of scholars, curators and many of the living Eiteljorg Fellows who will participate in a discussion about challenges facing contemporary Native artists today, as well as a preview of an upcoming TV documentary about the artists. Once it closes Jan. 28, Native Art Now! will go on tour as a traveling exhibition to other cities to present the work of these artists to broader audiences. In conjunction with Native Art Now!, the Eiteljorg is publishing a major survey book that reviews several decades of contemporary Native art and is authored by many of the most prominent authors in the field. CONTEMPORARY NATIVE ART ON EXHIBIT AT THE EITELJORG In Their Honor, an ongoing exhibit of the work of Rick Bartow (Wiyot), Harry Fonseca (Nisenan Maidu/Hawaiian/Portuguese), John Hoover (Aleut), Allan Houser (Warm Springs Chiricahua Apache) and George Morrison (Ojibwe), in the Hurt and Harvey galleries, through April 1. The Geometry of Expression, an ongoing exhibit featuring the work of Kay WalkingStick (Cherokee), Wendy Red Star (Crow), and Anna Tsouhlarakis (Navajo/Creek/Greek), in the Myrta Pulliam Gallery of Photography through Jan. 7. Native Art Now!, a traveling exhibit of iconic contemporary Native art from the permanent collection of the Eiteljorg Museum, in the special exhibit gallery Nov. 11-Jan 28. Image Captions: Top two images: Works by five artists who participated in the Eiteljorg Contemporary Art Fellowship are now part of the In Their Honor exhibition in the Hurt and Harvey galleries. Lower image: Kay WalkingStick (Cherokee) Wallowa Memory, 2003 lithograph Gift: Courtesy of the artist This article originally appeared in the September 2017 issue of Storyteller magazine.
- Gund Lecture examines early 19th century depictions of Native Americans in art August 30, 2017
Mary Peterson Zundo is a Ph.D. candidate in American Art History and Visual Culture at the University of Illinois, Urbana-Champaign. On Oct. 14, she will present the Eiteljorg’s annual Gund Lecture in Western art in an exciting program titled Fantasia on the Prairie: Plains Warriors, Arabic Equestrians, and Art on the American Frontier, 1800-1850. Fantasia on the Prairie will examine depictions of Native American equestrianism within the sociopolitical and multicultural contexts of colonial encounter in the American West, and American artistic exchange in post-Napoleonic France. Including art from the Eiteljorg collection, the lecture will explore the artistic, cultural and political contexts that informed paintings of the American West in the first half of the 19th century and their lasting impact on the ways in which artists depicted Native peoples. A focal point for the lecture will be Snake Indians, an 1840 oil painting by American artist Alfred Jacob Miller (1810-1874), displayed in the Eiteljorg’s Gund Gallery of Western Art. “Snake Indians,” referenced in Miller’s title, was a term used by white travelers to describe members of the Shoshone, Bannock and Northern Paiute tribes of the Great Basin. This program has been made possible through a matching grant from Indiana Humanities in cooperation with the National Endowment for the Humanities. Gund Lecture Series Speaker: Mary Peterson Zundo Fantasia on the Prairie: Plains Warriors, Arabic Equestrians, and Art on the American Frontier, 1800-1850 Saturday, Oct. 14 1–2:30 p.m., Clowes Court Lecture is included with museum admission and is free for museum members Sponsored by: Image caption: Alfred Jacob Miller (1810-1844), Snake Indians, 1840, oil on canvas. The Gund Collection of Western Art Gift of the George Gund Family
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