Folk Dress. National Costume. Bunad. Gákti. What are these and who has the right to wear them? Traditional Dress in Contemporary Scandinavia examines current efforts to revive, preserve, or innovate styles of dress emblematic of particular historical, regional, religious, or ethnic identities.
Dec 3, 2017 - Mar 8, 2019
Crafting Memory: Contemporary Life and Folk Art in the Andes
Museum of International Folk Art
This exhibition explores the new directions taken by current Peruvian folk artists during the recent decades of social and political upheaval and economic change. The exhibition will highlight the biographies and social histories of contemporary artists along with examples of work that: preserve family tradition; reimagine older artforms; reclaim pre-Columbian techniques and styles; and forge new directions for arte popular in the 21st century.
Chinese quilts have received little attention from scholars, collectors, or museums. The examples featured here offer an introduction based on new research by a bi-national consortium of American and Chinese museums, including participation by the Museum of International Folk Art. Embodying layers of history, identity, and expertise, these quilts reveal new insights into the contemporary lives of minority communities adapting to a period of great change in China.
May 27, 2017 - Sep 17, 2017
Lines of Thought: Drawing from Michelangelo to Now: from the British Museum
New Mexico Museum of Art
The exhibition examines the many ways artists have used drawing as a means of recording and provoking thought from the fifteenth century to today .The internationally recognized line-up of artists is a ‘who’s who’ of artists through the centuries. The exhibition includes work by artists as diverse as Leonardo da Vinci, Michelangelo, Albrecht Dürer, Piet Mondrian, Paul Cézanne, Pablo Picasso, Bridget Riley, Barbara Hepworth, Henry Moore, Franz Kline and Rachel Whiteread. Combining work from master artists of the past with artists working today, clearly demonstrates the common thread of drawing as the basis for creation. Drawing is one of the most effective mediums for the immediate expression and representation of an artist’s ideas. Drawing often serves as the starting point for other creative arts including painting, sculpture, even basic engineering design and architecture. The exhibition will help visitors to explore the range inherent in the medium of drawing and may even inspire them to draw as well.
At a time when concerts and gatherings on the West Coast gave birth to 1967’s infamous “Summer of Love,” New Mexico was experiencing its own social and environmental revolution depicted in Voices of Counterculture in the Southwest.
On display through February 11, 2018, the exhibition spans the decades of the 60s and 70s exploring this influx of young people to New Mexico and the subsequent collision of cultures. Through archival footage, oral histories, photography, ephemera and artifacts, the exhibition examines this cultural revolution and asks how these forms of rebellion inform the ways we think about contemporary social and political questions of what it means to be an engaged citizen.
Opening on May 5, 2017, and on display through September 2017, the exhibition will honor each Living Treasure’s body of work to-date. The Governor’s Gallery will feature the work of celebrated Living Treasures: Robert Tenorio (2006), Mike Bird-Romero (2007), Connie Tsosie Gaussoin (2008), Upton Ethelbah, Jr. (2009), Lonnie Vigil (2010), Roxanne Swentzell (2011), Tony Abeyta (2012), Tammy Garcia (2013), Joe & Althea Cajero (2014) Keri Atuambi & Teri Greeves (2015), Dan Namingha (2016), and current Living Treasure, Jody Naranjo (2017).
Over the past century artists have imagined and reimagined New Mexico through their work. The New Mexico Museum of Art presents an exhibition of work from the collection that investigates how artists in New Mexico have responded to key themes as they relate to the state’s identity. New Mexico, like all places, is as much an idea as it is a geographical location. This exhibition considers how the states identity was formed by various, sometimes fantastical and often contradictory interpretations of the areas land, traditions, and histories. Imagining New Mexico does not presume to be a complete survey of the history of the state, but instead a collection of fantasies about what New Mexico has come to mean for artists over time.
Mar 25, 2017 - Sep 17, 2017
Light Tight : New Work by Meggan Gould and Andy Mattern
New Mexico Museum of Art
Artists Meggan Gould and Andy Mattern investigate the basic materials of photography and subvert the idea of photographic representation and the commercialization of the medium. The title of the show refers to the need to keep light sensitive material covered up, or “light tight,” until it is ready to be used.
The New Mexico Museum of Art, in partnership with The Philbrook Museum, Tulsa, OK, presents the dynamic and psychologically penetrating watercolor paintings of Cady Wells (1904-1954). This group of more than 25 works features Wells’ uniquely modernist interpretations of Southwestern landforms and cultural-religious traditions. Born to a traditional, well-to-do New England family, Wells settled in northern New Mexico beginning in 1932. There, his art took on the complex layering of a spirit inspired by music, calligraphy and stained glass, but traumatized by active WWII combat, sexual intolerance, and Atomic bomb experiments at Los Alamos, just 12 miles from where he lived and painted. Such mid-century influences marked his increasingly surrealist style with equal parts rapture and disquietude.
Tramp art is the product of industry, a style of woodworking from the late 19th and early 20th centuries that made use of discarded cigar boxes and fruit crates that were notched and layered to make a variety of domestic objects.
Artist Frank Buffalo Hyde (Onondaga/Nez Perce) believes it is the artist’s responsibility to represent the times in which they live. Transforming street art techniques into fine art practices, his humorous and acerbic narrative artworks do exactly that. In I-Witness Culture, Hyde investigates the space where Native Americans exist today: between the ancient and the new; between the accepted truth and the truth; between the known and the unknown. Hyde, who created fourteen paintings and three sculptures for I-Witness, divides his contemporary narrative into three sections: Paranormal: The Truth is Out There; Selfie Skndns; and In-Appropriate.
Pre-millennium, if you asked anyone if Native Americans existed, they would tell you only in the past, in black and white photos. They are almost extinct, they would say, and their lands are gone. If you ever meet one, ask if you can touch their hair, take a picture of them as proof that you actually saw one—like Bigfoot they exist beyond the scope of normal experience.
Post-millennium, Native Americans are part of the digital age, the selfie age, where if something hasn’t been posted to social media, it never happened. We are sharing information at a rate that has never been possible before in human history: We no longer just experience reality; we filter reality through our electronic devices. Today’s Native artists use technology as a tool of Indigenous activism, a means to document, and a form of validation.
In a nation obsessed with sameness—afraid of difference—popular culture homogenizes indigenous cultures, "honoring" us with fashion lines, misogynistic music videos, or offensive mascots and Halloween costumes. Today, these stereotypes and romantic notions are irrelevant as a new generation of Native American artists uses social media to let the world know who they are. Today, we are the observers, as well as the observed. We are here, we are educated, and we define Indian art.
Oct 29, 2016 - Apr 30, 2017
Conversations in Painting, Early 20th Century to Post-War American Art
New Mexico Museum of Art
An exhibition centered around painting movements in 20th Century America, beginning with Robert Henri , Portrait of Dieguito Roybal, San Ildefonso Pueblo and ending with Agnes Martin, Untitled #6. Between those two benchmarks we explore the evolution of abstraction, federal support for art and artists during the Depression Era, the Transcendental Painting Group, Abstract Expressionism, Hard Edge Painting and Minimalism through paintings from the New Mexico Museum of Art collection. Juxtaposition is used to promote a dialogue both within and between these painting movements to encourage a more individual and intuitive appreciation of the individual paintings by the viewer.
Artists included will be Robert Henri, John Sloan, Gene Kloss, Florence Pierce, Raymond Jonson, Frederick Hammersley, Agnes Martin, Han Hoffman and Mala Breuer.
Centered around the experience of protracted looking at non-objective painting this exhibition features the works of artists Nick Aguayo, Harmony Hammond and John Zurier. All three artists produce compelling abstract works that utilize the physical and material qualities of paint as a means of subtle expression.
From the 1880s into the early 20th century, cigar manufacturers provided an avenue for the lithographic arts to flourish. Layering up to 10 colors in a stone-lithography process and even adding gold embellishments and stamped embossings, the images sold cigars through romantic landscapes, Western adventures, and hot-blooded señoritas. In Out of the Box: The Art of the Cigar, opening Oct. 7, 2016 (precise closing date to be determined), Palace Press Curator Thomas Leech shares primo examples to showcase the rich breadth of artwork created during the golden age of cigar box labels.
Shrouded in myth, the artist Agnes Martin (1912-2004), an iconic figure in 20th-century art, was emotionally and artistically tortured, exquisitely sensitive yet socially inept. Canadian born, she started to make a name for herself in the New York art scene in the late 1950s and early 1960s, but in 1967, abandoned her career for a reclusive life in the New Mexico desert. She did not return to her work for nearly a decade.
Several years after she began creating art again, photographer Donald Woodman met her and remained a fixture in her life from 1977 through 1984. In Agnes Martin and Me, an exhibit opening August 5 at the New Mexico History Museum (precise closing date to be determined), Woodman shares his photographs of their time together. The exhibit accompanies his new book, Agnes Martin and Me (Lyon Art Books; May 2016), which reveals the raw, unveiled person he knew in the seven rollercoaster years of their constant contact.
Jul 17, 2016 - Oct 22, 2017
Into the Future: Culture Power in Native American Art
Museum of Indian Arts and Culture
Sponge Bob Square Pants, Pac Man, and Curious George, all sporting a particularly Native American twist, are just a few images from popular mainstream culture seen in the exhibition, Into the Future: Culture Power in Native American Art.
The free to the public opening for Into the Future: Culture Power in Native American Art at the Museum of Indian Arts and Culture is on July 17, 2016 from 1 to 4 pm and the show runs through October 22, 2017.
Featuring nearly 100 objects by more than fifty artists from the museum’s collections as well as others borrowed from collectors and artists, the work on view in Into the Future will be in such various media as traditional clothing and jewelry, pottery and weaving, photography and video, through to comics, and on into cyberspace.
Jul 3, 2016 - Jan 8, 2018
Negotiate, Navigate, Innovate: Strategies Folk Artists Use in Today’s Global Market Place
Museum of International Folk Art
in the Mark Naylor & Dale Gunn Gallery of Conscience
The Mark Naylor and Dale Gunn Gallery of Conscience is an experimental gallery inside the Museum of International Folk Art where the public is invited to help shape the content and form of the exhibition in real tme.
Passionate, fiery, sensual, intense In-depth examination of the history and culture of flamenco dance and music.
The Museum of International Folk Art presents Flamenco: From Spain to New Mexico, the most comprehensive exhibition to celebrate and study this living tradition as an art form. The exhibition opened November 22, 2015 and runs through September 10, 2017. More than 150 objects are featured. Among them, items once used by renowned artists Encarnación López y Júlvez “La Argentinita”, José Greco, and Vicente Romero and María Benítez (both from New Mexico). In addition to other stunning loans from private collectors will be those from the museum’s expansive permanent collection.
For the first time in Oblique Views: Archaeology, Photography, and Time, large prints of Heisey’s stunning images will be paired directly with the Lindberghs’. The exhibition opens October 25, 2015 and runs through May 7, 2017 at the Museum of Indian Arts and Culture.
During 2007 and 2008, flying at alarmingly low altitudes and slow speeds, Adriel Heisey leaned out the door of his light plane, and holding his camera with both hands, re-photographed some of the Southwest’s most significant archaeological sites that Charles Lindbergh and his new bride Anne photographed in 1929.
Long Term Exhibition
Setting the Standard: The Fred Harvey Company and Its Legacy
New Mexico History Museum
Will Rogers noted that Fred Harvey “kept the West in food—and wives.” But the company’s Harvey Girls are by no means its only legacy. From the Atchison, Topeka and Santa Fe Railway’s 1879 arrival in New Mexico to the 1970 demolition of Albuquerque’s Alvarado Hotel, the Fred Harvey name and its company’s influence have been felt across New Mexico, not to mention the American West. The company and its New Mexico establishments served as the stage on which people such as Mary Colter were able to fashion an “authentic” tourist experience, along with Herman Schweizer who helped drive the direction of Native American jewelry and crafts as an industry.
Setting the Standard: The Fred Harvey Company and Its Legacy, a new section that joins the New Mexico History Museum’s main exhibit, Telling New Mexico: Stories from Then and Now, helps tell those stories. Opening December 7, Setting the Standard uses artifacts from the museum’s collection, images from the Palace of the Governors Photo Archives and loans from other museums and private collectors. Focusing on the rise of the Fred Harvey Company as a family business and events that transpired specifically in the Land of Enchantment, the tale will leave visitors with an understanding of how the Harvey experience resonates in our Southwest today.
Now 400 years old, Santa Fe was once an infant city on the remote frontier. Santa Fe Found: Fragments of Time, on long-term exhibit in the Palace of the Governors, explores the archaeological evidence and historical documentation of the City Different before the Spanish arrived, as well as at the settling of the first colony in San Gabriel del Yungue, the founding of Santa Fe and its first 100 years as New Mexico’s first capital.
Co-curated by Josef Diaz of the New Mexico History Museum/Palace of the Governors and Stephen Post of the DCA/Office of Archaeological Studies, Santa Fe Found collects more than 160 artifacts from four historic sites, along with maps, documents, household goods, weaponry and religious objects. Together, they tell the story of cultural encounters between early colonists and the Native Americans who had long called this place home.
Telling New Mexico: Stories from Then and Now, the main exhibition of the New Mexico History Museum, sweeps across more than 500 years of stories - from early Native inhabitants to today's residents - told through artifacts, films, photographs, computer interactives, oral histories and more. Together, they breath life into the people who made the American West: Native Americans, Spanish colonists, Mexican traders, Santa Fe Trail riders, fur trappers, outlaws, railroad men, scientists, hippies and artists.