Modern Spirit: The Art of George Morrison
Now - February 23, 2014
This first comprehensive retrospective of the works of Native American modernist George Morrison (Grand Portage Band of Chippewa, 1919-2000) includes 78 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. Highlights include selections from his Lake Superior landscape series and abstract expressionist works from his New York period.
Organized by the Minnesota Museum of American Art, Arts Midwest, and the Plains Art Museum.
Before and After the Horizon: Anishinaabe Artists of the Great Lakes
Now - June 15, 2014
2nd Floor, West Gallery
Works by such modern masters as Norval Morrisseau, George Morrison, Blake Debassige, and Daphne Odjig are juxtaposed with historic, ancestral objects to reveal the stories, experiences, histories, and deep indigenous roots of the Anishinaabe in the Great Lakes region. These artists, each in his or her 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 such traditional Anishinaabe arts 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.
Making Marks: Prints from Crow's Shadow Press
Now - January 5, 2014
2nd Floor, South Entryway Gallery
On view are 18 works by 7 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 Press master printer Frank Janzen.
Crow’s Shadow was founded in 1992 by artist James Lavadour and others on the Umatilla Indian Reservation in Oregon to provide opportunities for Native Americans through artistic development.
Circle of Dance
Now - October 8, 2017
1st Floor, Diker Pavilion for Native Arts & Cultures
Music and dance have always been essential to the spiritual, cultural, and social lives of Native people, and unique forms of ritual, ceremonial, and social dancing remain a vital part of contemporary community life. Featuring 10 social and ceremonial dances from throughout the Americas, this exhibition illuminates the significance of each dance and highlights the unique characteristics of its movements and music. Each dance is represented by a single mannequin, dressed in appropriate regalia and posed in a distinctive dance position, and a video component capturing the movements and music integral to each performance.
Infinity of Nations: Art and History in the Collections of the National Museum of the American Indian
This 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 highlight 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 Kayapo krok-krok-ti, a macaw-and-heron-feather ceremonial headdress.
Focal-point objects, representing each region, include an Apsaalooke (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).