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.
Extraordinary how a small glass bead from the island of Murano (Venice, Italy) or the mountains of Bohemia (Czech Republic) can travel around the world, entering into the cultural life of people far distant. Glass beads are the ultimate migrants. Where they start out is seldom where they end up. No matter where they originate, the locale that uses them makes them into something specific to their own world view.
Mar 2, 2018 - Feb 28, 2019
The Land that Enchants Me So: Picturing Popular Songs of New Mexico
New Mexico History Museum
Before radio and television, when making music at home was the evening’s entertainment and playing the piano was considered an essential talent among the middle class, sheet music was the music consumer’s gateway to the world.” The New Mexico History Museum celebrates this era with sheet music of popular songs about the State of New Mexico, dating from the mid-19th through the mid-20th centuries, in the new exhibition The Land That Enchants Me So. The show spotlights graphically striking sheet-music covers published from 1840s through about 1960, along with other printed materials, sound recordings, and memorabilia relating to New Mexico and its musical life.
Jan 1, 2018 - Apr 13, 2018
A Place Like No Other: Two Views of the New Mexico Landscape (Governor’s Gallery)
New Mexico Museum of Art
Exhibition of the work of Sheldon Parsons and Eliot Porter in the Governor’s Gallery on the 4th floor of the State Capitol.
The Museum of Indian Arts and Culture will exhibit over 100 objects dating from the late 1880s to the present. Cultural objects will represent the lifeways of the different Apachean groups in New Mexico and Arizona. These cultural objects include basketry, beaded clothing, hunting and horse gear.
These groups are: Jicarilla Apache, Mescalero Apache, Fort Sill Apache (Chiricahua), San Carlos Apache and White Mountain Apache.
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.
Drawn primarily from the New Mexico Museum of Art’s extensive collection, Horizons shows the wide and dynamic range of styles, personalities, cultures, and forms that visual creative expression took here in the 20th century. Featured artists include Robert Henri, Marsden Hartley, John Sloan, Georgia O’Keeffe, Bert Greer Phillips, James Stovall Morris, Victor Higgins, Awa Tsireh, Maria Martinez, Fritz Scholder, Alfred Morang, Cady Wells, Andrew Dasburg, and Gustave Baumann, among many others.
Shifting Light offers a twenty-first century perspective on the museum’s long-term engagement with the popular medium of photography. Using portraits and oral histories, the show introduces some of the personalities in New Mexico’s twentieth-century photography scene, including Laura Gilpin, Ansel Adams, Thomas Barrow, Anne Noggle and Joyce Neimanas, among many.
Contact: Local to Global highlights the engagement of artists with New Mexico, the New Mexico Museum of Art with artists and collectors, and New Mexico’s engagement with the national and international arts community. Featuring the work of artists who have lived and worked in the region, works made in New Mexico and significant works with a connection to art in New Mexico, as well as artworks which address the broader issues of land, location and environment, the exhibition includes art by Bruce Nauman, Agnes Martin, Frederick Hammersley, Susan York, Postcommodity, Ati Maier and Yorgo Alexopoulos, among others.
Projectile points are one of the most iconic images of archaeology in the American Southwest. This exhibition focuses on some of the projectile points that are commonly found here in New Mexico from Paleoindian times (13,500 years ago), through the Archaic, and into Puebloan times (1,260 to 110 years ago) as well as some of the exotic points that have come to New Mexico from California and Texas.
The exhibit discusses how archaeologists classify points, why they change through time, and how illegal collection of points can impact the archaeological record.
This exhibit opens on International Archaeology Day on Saturday October 21, 2017 at the Center for New Mexico Archaeology (7 Old Cochiti Road). After that, the exhibit is open to the public Monday through Friday 8 a.m. to 5 p.m. and closed on holidays.
Please drop by Archaeology Day at the CNMA! For more info on the event, click the "Upcoming Events" tab to your right.
This exhibit features Mexican prints made by “the Peoples Graphic Workshop” from the collection of Senator Jeff and Anne Bingaman, along with other prints by contemporary artists working with the same commitment and passion for social justice.
Sep 15, 2017 - Dec 31, 2017
Governor’s Awards for Excellence in the Arts exhibition
New Mexico Museum of Art
The Governor’s Gallery on the 4th floor of the State Capitol is honoring the 2017 recipients of the New Mexico Governor’s Awards for Excellence in the Arts.
Footwear is evocative. It tells us about belonging, love, and social aspiration, reflecting the lives of makers and wearers and offering a window into the past and the present.
This exhibition features sandals that date back thousands of years found in the dry caves of New Mexico and nearby regions; includes Plains and Southwest moccasins, many beautifully beaded or quilled, and exhibited for the first time in decades; and concludes with examples of contemporary high fashion footwear made artists like Teri Greeves, Lisa Telford, and Emil Her Many Horses.
Stepping Out: 10,000 Years of Walking the West opens at the Museum of Indian Arts and Culture on August 27, 2017, and will be on display until September 3, 2018.
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.
Jun 4, 2017 - Jul 16, 2018
Negotiate, Navigate, Innovate: Strategies Folk Artists Use in Today’s Global Marketplace
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.
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.
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.
¡Aquí Estamos: The Heart of Arte! celebrates the NHCC Art Museum’s growing permanent collection with a revitalized vibe and a brand new selection of works. This exhibition was a collaborative project as the entire NHCC Visual Arts staff and interns combed through the collection and worked together to decide which pieces should welcome in 2017. This sampling explores the contributions of these artists and how each work can serve as a reminder of the heart that thrives in strong and resilient communities.
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.
Folk Art is a treasure, and Lloyd’s Treasure Chest offers a participatory gallery experience highlighting the Museum’s permanent collection of over 136,000 objects of international folk art from over 100 countries, representing thousands of unique cultures. Because the entire collection can never be on view at the same time, collections are carefully stored and cared for in rooms such as our Neutrogena Vault, which visitors can view from the Treasure Chest gallery.
The first artwork ever to be displayed at the New Mexico Farm & Ranch Heritage Museum belonged to Robert “Shoofly” Shufelt. Fifteen years after he graciously loaned some of his lithographs for a temporary exhibit, Shufelt and his wife, Julie, donated his collection to the museum for a long-term exhibition.
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.
Multiple Visions: A Common Bond has been the destination for well over a million first-time and repeat visitors to the Museum of International Folk Art. First, second, third, or countless times around, we find our gaze drawn by different objects, different scenes. With more than 10,000 objects to see, this exhibition continues to enchant museum visitors, staff and patrons.
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.
Treasures of Devotion/Tesoros de Devoción contains bultos, retablos, and crucifijos dating from the late 1700s to 1900 which illustrate the distinctive tradition of santo making in New Mexico introduced by settlers from Mexico.
Though the source of the Segesser Hide Paintings is obscure, their significance cannot be clearer: the hides are rare examples of the earliest known depictions of colonial life in the United States. Moreover, the tanned and smoothed hides carry the very faces of men whose descendants live in New Mexico today...
The Buchsbaum Gallery features each of the Pueblos of New Mexico and Arizona in a selection of pieces that represent the development of a community tradition. In addition, a changing area of the gallery, entitled Traditions Today highlights the evolving contemporary traditions of the ancient art of pottery making.
Here, Now, and Always is a major exhibition based on eight years of collaboration among Native American elders, artists, scholars, teachers, writers and museum professionals. Voices of fifty Native Americans guide visitors through the Southwest’s indigenous communities and their challenging landscapes. More than 1,300 artifacts from the Museum’s collections are displayed accompanied by poetry, story, song and scholarly discussion.