March 09, 2016

"Unbound" opening in New York March 12: Artists in the gallery will talk about their work

Saturday, March 12, five contemporary artists will be on hand at the National Museum of the American Indian's Heye Center in New York for the opening of Unbound: Narrative Art of the Plains

In celebration of Women's History Month, the museum presents Crossing Lines: Women and Ledger Art. Traditionally ledger art is most frequently associated with men, but many women are outstanding artists in the Plains narrative style. Meet three women who use the art form to tell their own unique stories. Starting around 11 a.m., Unbound artists Lauren Good Day Giago (Arikara/Hidatsa/Blackfeet/Plains Cree) and Juanita Growing Thunder Fogarty (Assiniboine/Sioux) will be available in the exhibition gallery to talk about their work. In the Heye Center's Great Hall, up-and-coming ledger artist Wakeah Jhane (Comanche/Blackfeet/Kiowa) will demonstrate ledger drawing.


Emil Her Many Horses and Lauren Good Day GiagoCurator Emil Her Many Horses (Oglala Lakota) and artist Lauren Good Day Giago, preparing Lauren's piece Honoring Grandpa Blue Bird to go on exhibit in Unbound. Lauren created the painted dress to honor her grandfather's military service.


The women artists will be joined in the gallery by two fellow Unbound artists—Dallin Maybee (Northern Arapaho/Seneca) and Chris Pappan (Kaw/Osage/Cheyenne River Lakota).

Brief biographies  of Lauren Good Day Giago, Juanita Growing Thunder Fogarty, Dallin Maybee, Chris Pappan, and the other contemporary artists whose works will be on view in Unbound are available in the exhibition's online media kit. To read more about Wakeah Jhane, visit her website.


Unbound: Plains Narrative Art will be on view at the National Museum of the American Indian in New York from March 12 to December 4, 2016.

Unbound  is curated by Emil Her Many Horses (Oglala Lakota), with historic works from the museum's collections by 14 artists. The 11 who are known by name are Long Soldier (Lakota/Nakota), Mountain Chief (Blackfeet), Bear’s Heart (Southern Cheyenne), Zo-tom (Kiowa), Black Chicken (Yanktonai), Canté-wani′ća/No Heart (Yanktonai), Chief Washakie (Shoshone), Spotted Tail (Crow), Old Buffalo (Lakota/Nakota), Rain in the Face (Lakota), and Ćehu′pa/Jaw (Hunkpapa Lakota).

Works commissioned by the museum for Unbound are by Dr. Ronald Burgess (Comanche), Sherman Chaddlesone (Kiowa), David Dragonfly (Pikuni), Lauren Good Day Giago (Arikara/Hidatsa/Blackfeet/Plains Cree), Darryl Growing Thunder (Assiniboine/Sioux), Juanita Growing Thunder Fogarty (Assiniboine/Sioux),Terrance Guardipee (Blackfeet), Vanessa Jennings (Kiowa/Pima), Dallin Maybee (Arapaho), Chester Medicine Crow (Apsáalooke [Crow]), Chris Pappan (Kaw Nation/Osage/Cheyenne River Sioux), Joe Pulliam (Lakota), Martin E. Red Bear (Oglala Lakota), Norman Frank Sheridan (Southern Cheyenne/Arapaho), Dwayne Wilcox (Oglala/Lakota), Jim Yellowhawk (Cheyenne River Lakota).

Generous support for the project is provided by Ameriprise Financial. 

#UnboundNarratives

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March 03, 2016

"Unbound: Narrative Art of the Plains"—3 quick questions for curator Emil Her Many Horses

On Saturday, March 12, the exhibition Unbound: Narrative Art of the Plains opens at the National Museum of the American Indian's George Gustav Heye Center in New York. Unbound reflects the dynamic tradition of narrative art among Native nations from the Great Plains. Plains narrative art took shape through various media, such as painted deerskin war shirts and buffalo robes. As trade broadened during the 19th century, artists created elaborate battle scenes on large canvas tipi liners and used muslin cloth, as well as hides, to record winter counts, some documenting more than 100 years of history. When the U.S. government established forts and reservations on the Plains and ledger books became available to tribal members, Plains artists filled their pages with narrative drawings. Native artists began reviving “ledger art” in the 1970s, creating vibrant and widely collected drawings and paintings. Unbound includes historic drawings and paintings, as well as more than 50 works by contemporary Native artists commissioned by the museum. 

Next Thursday, March 10, at 6 in the evening, Emil Her Many Horses (Oglala Lakota) will give a curator's talk on Unbound at the Heye Center. Attendees will also have a chance to preview the exhibition. We asked Emil to take a few minutes in the run-up to the opening to give us a brief interview. 

What gave you the idea to do this exhibition?

206231
Page captioned "Catching a Shark July 1875," from a drawing book, ca. 1875. Bear’s Heart (Southern Cheyenne, 1851–82). Ft. Marion, St. Augustine, Florida. Paper, graphite, colored pencil, ink. 20/6231

Emil Her Many Horses: Two things, really. One is that the museum has such a great collection of Plains narrative art. These are drawings or paintings that document war deeds and horse raids, and also personal experiences, like courtship, or subject matter that is both historic and personal, like the books of drawings made in the late 1870s by the southern Plains men held in the military jail at Ft. Marion. In addition, the Smithsonian has remarkable photographs and other materials that shed light on the historical narrative art in our collection.

Dallin Maybee Indian Prosecutor
Indian Prosecutor, 2012. Dallin Maybee (Northern Arapaho/Seneca, b. 1974). Antique ledger paper, graphite, colored pencil, ink. 26/8964

My second reason is that, as an artist who takes part in many art shows, I see what Plains artists are doing with narrative art now. Plains narrative art has always reflected personal, as well as tribal, experiences, and that is still true of these contemporary pieces. Dallin Maybee, for example, illustrated his experience as a prosecutor at Gila River. He has also created what he calls an indigenized version of Maurice Sendak’s Where the Wild Things Are, because he loved the book as a child and loved reading it to his own children. Lauren Good Day Giago has taken what was traditionally a men’s art form and used it to show traditional activities, but traditional activities of women and families. I knew Dwayne Wilcox would do something humorous, and one of his drawings for the exhibition shows powwow dancers busy on their cell phones.

Lauren Good Day Giago Making of Relatives

Dwayne Wilcox 4G
Above: 4G Better than One-G, 2012. Dwayne Wilcox (Oglala Lakota, b. 1954). Antique ledger paper, graphite, colored pencil, ink. 26/8952 
 
Left: Making of Relatives, 2012. Lauren Good Day Giago (Arikara/Hidatsa/Blackfeet/Plains Cree, b. 1987). Antique ledger paper, colored pencil, graphite, ink, felt-tipped marker. 26/9023

 


Is there something you learned or something that surprised you in curating the exhibition?

I was surprised, and I think other members of the exhibition team were surprised, by how truly strong the museum’s collection of Plains narrative art is, and especially by how strong the collection of contemporary narrative art is. With the support of donors, we've been collecting 20th- and 21st-century art for a while now, and it shows.


Is there an idea in particular you hope visitors will take away from the exhibition? 

I hate to reduce it to one idea, but I guess I want people to see how the historic tradition of narrative art inspires artists today. For example, we have the Long Soldier Winter Count—with entries drawn by several artist-historians from 1798 to 1902—on view with Red Bear’s Winter Count—Martin E. Red Bear’s record of a significant event in his life for each year from 1980 to 2004. Long Soldier Winter Count

Red Bear's Winter Count


Above:
Long Soldier Winter Count, ca. 1902. North Dakota. Muslin, paint. 11/6720 

Right: Red Bear's Winter Count, 2004. Martin E. Red Bear (Oglala/Sicangu Lakota, b. 1947). Canvas, acrylic paint. 26/8020

 

 

 

 

 

 

 

Sherman Chaddleson Black Leggings Society dance
Painting of a Ton-Kon-Gah, or Kiowa Black Leggings Society, dance, 2013. Sherman Chaddlesone (Kiowa, 1947–2013). Paper, graphite, watercolor, ink. 26/9402

I also hope visitors will find specific works that are meaningful to them. As the exhibition’s curator, I feel strongly about every piece in Unbound, but I have to admit, what comes to my mind when I think about this question is Sherman Chaddlesone’s last painting. Sherman’s great-grandmother kept a ledger calendar for 78 years, which he credited with inspiring his interest in narrative art. Unbound includes a few of his paintings of Kiowa tribal history and cultural traditions. One shows members of the Kiowa Black Leggings Society dancing around a tipi. The striped tipi design is used specifically by the society, and the dancers wear red capes like the capes captured by Kiowa warriors in battle with the Mexican Army. Today the Black Leggings Society is made up of U.S. military veterans, and as a Vietnam veteran Sherman included himself among the dancers. He died before he finished the painting or signed it, but I visited him while he was working on it, and he pointed himself out among the dancers with great pride. 

In commissioning new work for Unbound, I asked all of the contemporary artists to think about what best represents them. I think that’s something people will definitely be able to take away from the exhibition.


Thank you for taking the time to do this interview before the opening.

Thank you. I hope you can come to the talk Thursday evening. 

 

Unbound  is curated by Emil Her Many Horses (Oglala Lakota), with historic works from the museum's collections by 14 artists. The 11 who are known by name are Long Soldier (Lakota/Nakota), Mountain Chief (Blackfeet), Bear’s Heart (Southern Cheyenne), Zo-tom (Kiowa), Black Chicken (Yanktonai), Canté-wani′ća/No Heart (Yanktonai), Chief Washakie (Shoshone), Spotted Tail (Crow), Old Buffalo (Lakota/Nakota), Rain in the Face (Lakota), and Ćehu′pa/Jaw (Hunkpapa Lakota).

Works commissioned by the museum for Unbound are by Dr. Ronald Burgess (Comanche), Sherman Chaddlesone (Kiowa), David Dragonfly (Pikuni), Lauren Good Day Giago (Arikara/Hidatsa/Blackfeet/Plains Cree), Darryl Growing Thunder (Assiniboine/Sioux), Juanita Growing Thunder Fogarty (Assiniboine/Sioux),Terrance Guardipee (Blackfeet), Vanessa Jennings (Kiowa/Pima), Dallin Maybee (Arapaho), Chester Medicine Crow (Apsáalooke [Crow]), Chris Pappan (Kaw Nation/Osage/Cheyenne River Sioux), Joe Pulliam (Lakota), Martin E. Red Bear (Oglala Lakota), Norman Frank Sheridan (Southern Cheyenne/Arapaho), Dwayne Wilcox (Oglala/Lakota), Jim Yellowhawk (Cheyenne River Lakota).

Generous support for the project is provided by Ameriprise Financial. 

#UnboundNarratives

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February 25, 2016

One Hundred Years of Museum History

This year marks the 100th anniversary of the founding of the Museum of the American Indian (MAI), now the Smithsonian National Museum of the American Indian (NMAI). On May 10, 1916, George Heye—along with trustees F. Kingsbury Curtis, Frederick K. Seward, and William Lare—signed a foundation deed creating the museum as an institution for “the collection, preservation, study and exhibition of all things connected with the anthropology of the aboriginal people of North, South and Central Americas, and containing objects of artistic, historic, literary and scientific interest” (MAI Foundation Deed, NMAI Archive Center B153.3). The basis of the MAI’s collection was the approximately 175,000 objects already assembled by George Heye and informally referred to as the Heye Museum.


P11449 Laying Cornerstone of MAIGeorge Heye laying the cornerstone of the Museum of The American Indian–Heye Foundation. November 8, 1916; New York City. NMAI P11449


George Heye had begun collecting Native American objects in 1897. By 1904 he became serious about founding his own museum, devoting much of his time to acquiring and cataloging large collections. He hired museum assistants, including staff from the American Museum of Natural History (AMNH) who worked after hours to help clean and organize his collections.


Time card AC001 266-51905 time card for George Lentz, a museum assistant at the American Museum of Natural History, for his evening work for George Heye. NMAI.AC.001, Box 266.5


Heye cultivated relationships with collectors, dealers, and institutions that held Native American collections. He developed a vast network of ethnologists and archaeologists, including George Pepper (AMNH), Marshall Saville (Columbia University), Mark Raymond Harrington (a Columbia graduate), and archaeologist Theodoor de Booy, who collected material for Heye throughout the Americas. 

N10987 Supper at Heye MuseumSupper at the Heye Museum. 1912, New York City. From left, seated: Mrs. Marie Heye (George Heye’s mother), Harmon Hendricks, Thea Knowne Page (later Mrs. George Gustav Heye), and George Gustav Heye; standing: George Pepper, Theodoor De Booy, and Marshall H. Saville. In 1904 Heye rented two floors of a loft building at 10 East 33rd Street to house his growing collections. NMAI N10987


As early as December 1905, Heye sought support to found an institution with two facilities—one for exhibitions and one for storage, with research space for students. His motivation for collecting was not solely to amass a large private collection but to create an institution for the serious study of the people of the Americas. In 1906, after discussing his museum idea with philanthropist Archer Huntington, Heye decided that the time was not right to create an institution that would rival the American Museum of Natural History. Instead, Heye placed his growing North American ethnology and archaeology collections at the University of Pennsylvania Museum in Philadelphia. There his objects were cared for and exhibited in two galleries from 1909 until 1916, when Heye withdrew them to create the MAI—much to the dismay of the University Museum staff, who believed he would ultimately donate his collections to their museum.

In the decade between his first conversations about building a museum and laying the foundation stone 1916, Heye was able to generate support for his vision of a new anthropological institution in New York. In 1922, the Museum of the American Indian finally opened to the public at 155th and Broadway in New York, on a site at Audubon Terrace donated by Archer Huntington.


Thea Heye N02173Thea Heye placing the first specimen in a display case in the Museum of the American Indian–Heye Foundation, 155th and Broadway, New York. NMAI N02173


Heye and MAI staff members continued to collect specimens, sending out archaeological and ethnographic expeditions to the far reaches of the Americas, buying from other collectors, and traveling abroad to purchase Native American items that had found their way into European collections. By 1990, when the MAI became part of the Smithsonian Institution, the collection included more than 800,000 objects, the great majority acquired during George Heye’s lifetime.

If not for the determination of George Heye and the MAI staff who expanded on his vision, the National Museum of the American Indian would not exist in its present form. Certainly, it would not conserve, for study and exhibition, the impressive collections for which it is known. This year we celebrate the founding of the Museum of the American Indian and the many individuals involved in buildings its collections. As part of our centenary celebration, the NMAI Archive Center is adding the newly digitized George Heye records and correspondence to the SOVA (Smithsonian Online Virtual Archives). See an earlier blog for more information about using the SOVA and check back here for more blogs about the museum’s history and the people associated with it.

—Maria Galban, NMAI 

On May 11, the National Museum of the American Indian in New York will host the gala evening Legacies of Learning to commemorate the 100th anniversary of the establishment of George Gustav Heye's extraordinary collection as the Museum of the American Indian and to toast the museum's century of contributions to scholarship and cultural understanding. For more information about the gala and how it supports the museum's educational mission, or to read about the recipients of the 2016 NMAI Awards who will be honored that night, visit Legacies of Learning on the museum’s website.

Maria Galban is a research specialist on the Collections and Research Documentation staff at the National Museum of the American Indian.

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January 22, 2016

One Hundred Years of History: Going Digital

A question I'm often asked as an archivist at the National Museum of the American Indian is, “How do I find what I’m looking for, and once I find it, how do I access it?” The Smithsonian is one of the world’s largest repositories of primary sources, with archival holdings measuring somewhere in the area of 137,000 cubic feet, spread across 14 museums and other research centers within the institution. These amazing resources include letters, journals, scrapbooks, photo albums, and sound and video recordings, with subjects ranging from art and culture to science and technology. The scope can make searching for specific information a daunting task. Luckily, Smithsonian archivists have been hard at work making it easier to find the material you are looking for, and making it increasingly possible to view a digital version of the letter, field notebook, or photograph in question.

In October 2015 the Smithsonian launched the Smithsonian Online Virtual Archives (SOVA). This online interface provides access to archival finding aids—inventory lists that provide context and detail to the many pieces that can make up a collection. Currently the NMAI Archive Center has 101 archival collection records, including photographic, paper, and media collections, available via the SOVA. Of these 101 records, 28 collections have full finding aids.

You can browse the SOVA by Smithsonian unit, making it easier to focus your search on NMAI’s archival holdings specifically.

SOVA homepage

 

If there is digitized content available within a collection, a symbol will appear in your search results next to the collection name.

Tibbles screen shot

 

The papers of the journalist Thomas Henry Tibbles (1840–1928)—the husband of Indian rights writer and orator Susette Bright Eyes LaFlesche (Omaha) and a progressive figure in his own right—are one example of a fully digitized collection now available online. You can browse the full collection here.

One of the museum’s largest archival collections is the records of our predecessor institution, the Museum of the American Indian, Heye Foundation (MAI) in New York City. The MAI records include collectors' field notebooks, catalog lists, and expedition records, as well as exhibition and organizational files. (For a more in-depth look into what this massive collection holds, take a peek at the earlier blog post Finding Treasure in the Museum of the American Indian, Heye Foundation Records.)

As many of you may know, in 2016 is the 100th anniversary of the founding of the MAI. As a part of a year-long anniversary celebration, every month the Archive Center is putting new digitized content from the MAI records up on the SOVA. These records will be accompanied by stories from the 100-year history of the MAI. As our first offering the Archive Center has made available the MAI’s annual reports from 1917 to 1989. These annual reports give a keen insight into the activities of the museum from its earliest days up until it became a part of the Smithsonian Institution.

The MAI annual reports offer an great opportunity to learn about conducting research using the SOVA. For instance, say you want to know what expeditions the museum funded in 1924. You can easily find this information by following the digitized content boxes in the MAI finding aid to the Publications Series: 

MAI screen shot

 

You can then select the annual report folder you're interested in. If you're looking for 1924, you’ll want to click on Folder 2.

MAI screen shot3

 

You can then browse through the annual reports until you find 1924.

MAI screen shot2

 

MAI exp 1

 

The annual reports are just one of the many treasures among the MAI records. Make sure to check back with us every month for new and exciting stories from the archives!

—Rachel Menyuk, archives technician, NMAI Archive Center

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Great article!

July 31, 2015

Museum Interns Take New York: A Photo Journal

On July 10, 12 NMAI interns and fellows visited the National Museum of the American Indian’s George Gustav Heye Center in New York City. We arrived at the museum as thousands of fans poured into lower Manhattan to shower us with cheers and admiration, or was that for the U.S. women’s soccer team?

As the crowds dispersed we headed into the museum, but not before taking a picture with a U.S. marshal (below).

Interns & US marshal


We were greeted by Duane Blue Spruce , public spaces planning coordinator (below, wearing a red shirt). After a round of introductions, he told us about his involvement with the Heye Center. His experience began when the museum was the Museum of the American Indian at West 155th and Broadway, before it became part of the Smithsonian and moved downtown. Duane showed us two books he created to illustrate the experiences of Native peoples in the New York City area—Mother Earth, Father Skyline: The Native American Experience in New York City and Concrete Tipi. “It’s fun to come and work here every day,” he said, “because the things we produce represent Native people and educate the public. We’re doing good stuff.”

John Haworth and GGHC staff speaking with interns


We were joined by John Haworth, NMAI assistant director for Museum Programs (above, far right), who told us about the imagiNATIONS project being developed in New York. This new hands-on learning space will be geared towards pre-teens and will demonstrate the ingenuity of Native peoples, including their contributions in food, medicine, and architecture. Connor Bliss, an intern in the Exhibits Department, explained that “being able to witness the progress that is being made on . . . the imagiNATIONS Activity Center has further increased the understanding of the exhibitions process I’ve learned here during my time at the Smithsonian.” 

Peter BrillLater, Peter Brill, deputy assistant director of the museum in New York (right), walked us through the exhibit design process. His enthusiasm for the museum was infectious, and he encouraged us to speak up and present our ideas: “In these projects, you have a voice, and it’s important to think and be responsive to each other, bring your ideas forward, and try not to be fearful of making a silly suggestion.”

Charlotte Basch, an intern in Community and Constituent Services, told me she was impressed by how encouraging the New York staff is: “It was a great opportunity to see that each individual plays an important role in the NMAI and Smithsonian network. . . . Peter and Duane and everyone else were obviously excited about the work they do for both tribal communities and their fellow New Yorkers.”

Carrie Gonzalez 1 Carrie Gonzalez 2
Carrie Gonzalez 3

Carrie Gonzalez, a cultural interpreter on the Heye Center staff, then guided us on a wonderful tour of the museum (above and right). She also led us through three major exhibitions: Glittering World: Navajo Jewelry of the Yazzie Family, Infinity of Nations: Art and History in the Collections of the National Museum of the American, and Cerámica de los Ancestros: Central America’s Past Revealed, as well as Circle of Dance.  

Carrie told us that she leads school groups on tours during the school year, sometimes with over 50 kids! I think we were slightly easier to manage.  

We also got the chance to explore the museum’s activity center (below). Some interns tried their hand at a Yup'ik yo-yo a game that requires the player to take two sealskin balls attached by a caribou-sinew string and swing them around in opposite directions. I ventured into a tipi with Sara Morales, a Collections intern, and spent some time looking at the artwork on the interior. 

Yoyo 1 Yoyo 2 Tipi interior

After the tour was over, the interns scattered across the city—some uptown to see friends, some to Brooklyn. We all left the Heye Center with an appreciation for how the museum is changing understandings of Native lives in New York City.

Manhattan

—Sarah Frost


Sarah Frost spent her summer internship at the museum in Washington, D.C., as a member of the Web staff, working on the Inka Road website and new projects online and in social media. 

Photos: Tipi interior courtesy of Conservation intern Rachel Mochon. View of Manhattan courtesy of Applications intern Abby Malkin. All other photos courtesy of Sarah Frost.


The National Museum of the American Indian's Internship Program offers sessions in the spring, summer, and fall. The next deadline for applications—for the spring 2016 session—is November 20, 2015.

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