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Fig. 3. Interpretive panel for “Seeing the Line” grouping, Northwest Coast and Alaska Native Galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello. Fig. 3. Interpretive panel for “Seeing the Line” grouping, Northwest Coast and Alaska Native Galleries,

Figure 3 Interpretive panel for “Seeing the Line” grouping, Northwest Coast and Alaska Native Galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello. Fig. 3. Interpretive panel for “Seeing the Line” grouping, Northwest Coast and Alaska Native Galleries,

Related Figures (58)

Fig. 3. Entrance to the North American Art Gallery.
Fig. 3. Entrance to the North American Art Gallery.
Fig. 4. North American Art Gallery subsection on beadwork,
Fig. 4. North American Art Gallery subsection on beadwork,
Fig. 7. North American Art Gallery display of Netadi Frank Hamilton’s Mizhatthwen.
Fig. 7. North American Art Gallery display of Netadi Frank Hamilton’s Mizhatthwen.
Fig. 8. The Mesoamerican Art Gallery.
Fig. 8. The Mesoamerican Art Gallery.
Fig. 9. View of the figurine wall at the entrance of the Mesoamerican Art Gallery.
Fig. 9. View of the figurine wall at the entrance of the Mesoamerican Art Gallery.
Fig. 10. Mesoamerican Art Gallery subsection on Olmec peoples.
Fig. 10. Mesoamerican Art Gallery subsection on Olmec peoples.
Fig. 11. Mesoamerican Art Gallery subsection on ritual feasting.
Fig. 11. Mesoamerican Art Gallery subsection on ritual feasting.
Fig. 12. Mesoamerican Art Gallery subsection on the feathered serpent with David Ocelotl Garcia’s Quetzalcoatl at right.
Fig. 12. Mesoamerican Art Gallery subsection on the feathered serpent with David Ocelotl Garcia’s Quetzalcoatl at right.
Fig. 13. Entrance to the Central American and South American Art Gallery.
Fig. 13. Entrance to the Central American and South American Art Gallery.
Fig. 14. Central American and South American Art Gallery subsection on Central America, case 1.
Fig. 14. Central American and South American Art Gallery subsection on Central America, case 1.
Fig. 15. Central American and South American Art Gallery subsection on Central America, case 2.
Fig. 15. Central American and South American Art Gallery subsection on Central America, case 2.
Fig. 16. Central American and South American Art Gallery subsection on Central America, Case 3.
Fig. 16. Central American and South American Art Gallery subsection on Central America, Case 3.
Fig. 17. Central American and South American Art Gallery subsection on textiles.
Fig. 17. Central American and South American Art Gallery subsection on textiles.
Fig. 1. Susan Folwell (Santa Clara Pueblo, b. 1970). The Artist, 2016. Santa Clara Pueblo clay, slips, acrylic paint, wood stain, India ink. Private collection. Photo: Michelle Lanteri.
Fig. 1. Susan Folwell (Santa Clara Pueblo, b. 1970). The Artist, 2016. Santa Clara Pueblo clay, slips, acrylic paint, wood stain, India ink. Private collection. Photo: Michelle Lanteri.
Fig. 2. Susan Folwell. The Artist (verso), 2016. Santa Clara Pueblo clay, slips, acrylic paint, wood stain,
Fig. 2. Susan Folwell. The Artist (verso), 2016. Santa Clara Pueblo clay, slips, acrylic paint, wood stain,
Fig. 4. Installation view of Susan Folwell: Through the Looking Glass at the Harwood Museum of Art, Taos, New Mexico. Photo: Michelle Lanteri.
Fig. 4. Installation view of Susan Folwell: Through the Looking Glass at the Harwood Museum of Art, Taos, New Mexico. Photo: Michelle Lanteri.
Fig. 5. Susan Folwell. Blue Mountain, 2019. Santa Clara Pueblo clay, slips, acrylic paint, wood stain, Indie ink. The Harwood Museum of Art, Taos, New Mexico. Courtesy of the artist. Photo: Michelle Lanteri.
Fig. 5. Susan Folwell. Blue Mountain, 2019. Santa Clara Pueblo clay, slips, acrylic paint, wood stain, Indie ink. The Harwood Museum of Art, Taos, New Mexico. Courtesy of the artist. Photo: Michelle Lanteri.
Fig. 6. Installation view of Susan Folwell: Through the Looking Glass, showing Susan Folwell’s Blue Mountain (2019) at center; W. Herbert “Buck” Dunton’s Portrait of John Reyna (n.d., oil on canvas, collection of the Taos Art Museum at Fechin House) at left; and W. Herbert “Buck” Dunton’s Ginger (ca. 1932, oil on canvas, collection of the Harwood Museum of Art) at right. Photo: Michelle Lanteri.
Fig. 6. Installation view of Susan Folwell: Through the Looking Glass, showing Susan Folwell’s Blue Mountain (2019) at center; W. Herbert “Buck” Dunton’s Portrait of John Reyna (n.d., oil on canvas, collection of the Taos Art Museum at Fechin House) at left; and W. Herbert “Buck” Dunton’s Ginger (ca. 1932, oil on canvas, collection of the Harwood Museum of Art) at right. Photo: Michelle Lanteri.
Fig. 8. Susan Folwell. Baking Bread, 2018. Santa Clara Pueblo clay, acrylic paint, wood stain, India ink. Private collection. Photo: Michelle Lanteri.
Fig. 8. Susan Folwell. Baking Bread, 2018. Santa Clara Pueblo clay, acrylic paint, wood stain, India ink. Private collection. Photo: Michelle Lanteri.
Fig. 9. Susan Folwell. Baking Bread (detail), 2018. Santa Clara Pueblo clay, acrylic paint, wood stain,
Fig. 9. Susan Folwell. Baking Bread (detail), 2018. Santa Clara Pueblo clay, acrylic paint, wood stain,
Fig. 10. Installation view of Susan Folwell: Through the Looking Glass, showing Walter Ufer’s Winter in New Mexico (ca. 1930, oil on canvas, collection of the Harwood Museum of Art) at left; Susan Folwell’s Baking Bread (2018) at center, and E. Martin Hennings’s Discussing the Crops (ca. 1930, oil on board, col- lection of the Harwood Museum of Art) at right. Photo: Michelle Lanteri. traditional manta [dress] and shawl.
Fig. 10. Installation view of Susan Folwell: Through the Looking Glass, showing Walter Ufer’s Winter in New Mexico (ca. 1930, oil on canvas, collection of the Harwood Museum of Art) at left; Susan Folwell’s Baking Bread (2018) at center, and E. Martin Hennings’s Discussing the Crops (ca. 1930, oil on board, col- lection of the Harwood Museum of Art) at right. Photo: Michelle Lanteri. traditional manta [dress] and shawl.
Fig. 11. Installation view of Susan Folwell: Through the Looking Glass. Works, from left to right: Victor Higgins, Sleeping Model (n.d., oil on canvas, collection of the New Mexico Museum of Art); Susan Folwell, Sleeping Model (2018; Santa Clara Pueblo clay, acrylic paint, wood stain, India ink; private collection); Susan Folwell, Higgins “Open Bowl” (2017; Santa Clara Pueblo clay, slips, acrylic paint, wood stain, India ink; private collection); Victor Higgins, Nude Study (n.d., watercolor on paper, collection of the New Mexico Museum of Art); Victor Higgins, Indian Nude (n.d., oil on canvas, collection of the Taos Art Museum at Fechin House). Photo: Michelle Lanteri.
Fig. 11. Installation view of Susan Folwell: Through the Looking Glass. Works, from left to right: Victor Higgins, Sleeping Model (n.d., oil on canvas, collection of the New Mexico Museum of Art); Susan Folwell, Sleeping Model (2018; Santa Clara Pueblo clay, acrylic paint, wood stain, India ink; private collection); Susan Folwell, Higgins “Open Bowl” (2017; Santa Clara Pueblo clay, slips, acrylic paint, wood stain, India ink; private collection); Victor Higgins, Nude Study (n.d., watercolor on paper, collection of the New Mexico Museum of Art); Victor Higgins, Indian Nude (n.d., oil on canvas, collection of the Taos Art Museum at Fechin House). Photo: Michelle Lanteri.
Fig. 12. Installation view of Susan Folwell: Through the Looking Glass, showing Victor Higgins’s Sleeping Model (n.d.) at left and Susan Folwell’s Sleeping Model (2018) at right. Photo: Michelle Lanteri.
Fig. 12. Installation view of Susan Folwell: Through the Looking Glass, showing Victor Higgins’s Sleeping Model (n.d.) at left and Susan Folwell’s Sleeping Model (2018) at right. Photo: Michelle Lanteri.
Fig. 14. Installation view of Susan Folwell: Through the Looking Glass, showing Susan Folwell’s Higgins These themes continue in the section of the wall to the right of this pairing. Here, Victor Higgins’s Nude Study (n.d.) and his Indian Nude (n.d.) create a backdrop for Folwell’s Higgins “Open Bowl’ (2017) (see figs. 11, 14-15). When looking at these three works to- gether, the concept of the sketch
Fig. 14. Installation view of Susan Folwell: Through the Looking Glass, showing Susan Folwell’s Higgins These themes continue in the section of the wall to the right of this pairing. Here, Victor Higgins’s Nude Study (n.d.) and his Indian Nude (n.d.) create a backdrop for Folwell’s Higgins “Open Bowl’ (2017) (see figs. 11, 14-15). When looking at these three works to- gether, the concept of the sketch
Fig. 15. Susan Folwell. Higgins “Open Bowl,” 2017. Santa Clara Pueblo clay, slips, acrylic paint, wood stain, India ink. Private Collection. Photo: Michelle Lanteri.
Fig. 15. Susan Folwell. Higgins “Open Bowl,” 2017. Santa Clara Pueblo clay, slips, acrylic paint, wood stain, India ink. Private Collection. Photo: Michelle Lanteri.
‘ig. 1. Installation view, To Change the Shape of the World, with Welcome Figure, Northwest Coast anc Alaska Native Galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello.
‘ig. 1. Installation view, To Change the Shape of the World, with Welcome Figure, Northwest Coast anc Alaska Native Galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello.
Fig. 4. Installation view of Alaska Native Section, Northwest Coast and Alaska Native Galleries, Denver
Fig. 4. Installation view of Alaska Native Section, Northwest Coast and Alaska Native Galleries, Denver
Fig. 6. Installation view, “One Family’s Legacy” grouping, Indigenous Arts of North America permanent collection galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello. Fig. 6. Installation view, “One Family’s Legacy” grouping, Indigenous Arts of North America permanent
Fig. 6. Installation view, “One Family’s Legacy” grouping, Indigenous Arts of North America permanent collection galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello. Fig. 6. Installation view, “One Family’s Legacy” grouping, Indigenous Arts of North America permanent
Scream, a monumental history painting that challenges viewers to confront the trauma of the residen- tial school system in Canada, can be deeply unsettling and painful for visitors. In addition to includ- ing contact information for organi- zations that support survivors of ceawiinl alien ann thn nncinnntinl
Scream, a monumental history painting that challenges viewers to confront the trauma of the residen- tial school system in Canada, can be deeply unsettling and painful for visitors. In addition to includ- ing contact information for organi- zations that support survivors of ceawiinl alien ann thn nncinnntinl
Fig. 8. Installation view, “Home|Land” section, Indigenous Arts of North America permanent collection
Fig. 8. Installation view, “Home|Land” section, Indigenous Arts of North America permanent collection
Fig. 9. Installation view, Indigenous Community Advisory Council Statement, Indigenous Arts of North America permanent collection galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello.
Fig. 9. Installation view, Indigenous Community Advisory Council Statement, Indigenous Arts of North America permanent collection galleries, Denver Art Museum, Denver, CO. Photo: Christopher Patrello.
Fig. 2. Members of the advisory committee are seated in the front row; behind are some of the Field Museum staff who worked on the exhibition. Photo by John Weinstein for the Field Museum. Fig. 2. Members of the advisory committee are seated in the front row; behind are some of the Field
Fig. 2. Members of the advisory committee are seated in the front row; behind are some of the Field Museum staff who worked on the exhibition. Photo by John Weinstein for the Field Museum. Fig. 2. Members of the advisory committee are seated in the front row; behind are some of the Field
Fig. 4. Installation view of rotating gallery “The Pueblo peoples’ relationship to Chaco Canyon.”
Fig. 4. Installation view of rotating gallery “The Pueblo peoples’ relationship to Chaco Canyon.”
Fig. 5. Karen Ann Hoffman (Oneida).
Fig. 5. Karen Ann Hoffman (Oneida).
Fig. 6. Karen Ann Hoffman (Oneida, b. 1957).
Fig. 6. Karen Ann Hoffman (Oneida, b. 1957).
Fig. 7. Karen Ann Hoffman (Oneida, b. 1957).
Fig. 7. Karen Ann Hoffman (Oneida, b. 1957).
Each of these three pieces are examples of how Hoffman per- ceives her connection to the past and how she carries forward her message to future generations. As historian and advisory committee member Doug Kiel (Oneida) writes about Hoffman’s display: the Great Law of Peace. This law fosters
Each of these three pieces are examples of how Hoffman per- ceives her connection to the past and how she carries forward her message to future generations. As historian and advisory committee member Doug Kiel (Oneida) writes about Hoffman’s display: the Great Law of Peace. This law fosters
Fig. 9. Diego Romero (Cochiti Pueblo, b. 1964). The Crying Indian (exterior and interior), 2021. Ceramic.
Fig. 9. Diego Romero (Cochiti Pueblo, b. 1964). The Crying Indian (exterior and interior), 2021. Ceramic.
Fig. 11. Installation view of The Great Lakes Mural by Monica Rickert-Bolter (Potawatomi and Black) in the “We speak for ourselves” gallery. Photo by John Weinstein for the Field Museum. Fig. 11. Installation view of The Great Lakes Mural by Monica Rickert-Bolter (Potawatomi and Black)
Fig. 11. Installation view of The Great Lakes Mural by Monica Rickert-Bolter (Potawatomi and Black) in the “We speak for ourselves” gallery. Photo by John Weinstein for the Field Museum. Fig. 11. Installation view of The Great Lakes Mural by Monica Rickert-Bolter (Potawatomi and Black)
Fig. 12. Monica Rickert-Bolter (Potawatomi and Black). Ralph Kerwineo, 2022. Dry pastels on foam board; 81.3 x 81.3 cm (32 x32 in.). Permanent installation at the Field Museum. Fig. 12. Monica Rickert-Bolter (Potawatomi and Black). Ralph Kerwineo, 2022. Dry pastels on foam
Fig. 12. Monica Rickert-Bolter (Potawatomi and Black). Ralph Kerwineo, 2022. Dry pastels on foam board; 81.3 x 81.3 cm (32 x32 in.). Permanent installation at the Field Museum. Fig. 12. Monica Rickert-Bolter (Potawatomi and Black). Ralph Kerwineo, 2022. Dry pastels on foam
= eee eee ees Se ee Buffalohead’s painting (fig. 13), which is untitled, is also in the “We speak for ourselves” transition gal- lery. We chose to include her work in this space to reflect on the diver- sity of art forms, the complexities of identity, and the entanglement In this piece I am tapping into “the ani- mal within” to address the sometimes seemingly impossible nature of daily life. Situated in a stark horizonless picture plane, these two creatures achieve an ee- rie cooperation. This echoed my post- partum feelings about childbirth while referencing traditional narratives—as a mythic space constructed around the in- ternal world.”°
= eee eee ees Se ee Buffalohead’s painting (fig. 13), which is untitled, is also in the “We speak for ourselves” transition gal- lery. We chose to include her work in this space to reflect on the diver- sity of art forms, the complexities of identity, and the entanglement In this piece I am tapping into “the ani- mal within” to address the sometimes seemingly impossible nature of daily life. Situated in a stark horizonless picture plane, these two creatures achieve an ee- rie cooperation. This echoed my post- partum feelings about childbirth while referencing traditional narratives—as a mythic space constructed around the in- ternal world.”°
Related topics:
Contemporary Native American artNew Mexico Artists
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