Henry C. Balink: Native American Portraits
Henry C. Balink (1882–1963) is among the foremost painters of Native American portraits of the Southwest in the twentieth century. Curated by Christine Brindza, an exhibition currently at the Tucson Museum of Art debuts the museum’s Henry C. Balink collection, recently donated by Howard and Marilyn Steele, which is considered the largest repository of Balink’s art in the world. Following in the footsteps of the Taos Society of Artists, which was established during the first part of the twentieth century, Balink was enchanted by the imagery of the Southwest. After visiting Taos and Santa Fe several times, he moved there permanently in the 1920s, concentrating mostly on Native American people and culture in his paintings, drawings, and etchings. This exhibition can be seen until July 9, 2017.
African Master Carvers: Known and Famous
This exhibition addresses the false assumption that African artists who created tradition-based art were anonymous. Through fifteen stellar examples from different cultural regions in West, Central, and Southern Africa, the exhibition explores the lives and works of a select group of master carvers who enjoyed recognition and sometimes even fame during their lifetimes. Also included are the artists’ biographies and, when available, their portrait photographs. Traditional African arts in collections and museum exhibitions in Europe and the United States are generally ascribed to an unknown or unidentified artist or, more commonly, to a culture or people. Typically, few, if any, artists’ names are associated with an object. Of course this does not mean that the people who used the works did not know their makers’ identities. The alleged anonymity of these artists is largely the result of the limited interest on the part of mostly non-African collectors. African Master Carvers features four sculptures on loan from the Indianapolis Museum of Art and two privately owned masterpieces alongside nine works from the CMA collection.
What were the sources of inspiration for the celebrated painter and sculptor Pablo Picasso? Was his relationship with the arts of Africa, Oceania, the Americas, and Asia characterized by dread, admiration, or respect? What was his perception of these “foreign” arts? These are the questions addressed by the Picasso Primitif exhibition, on view from March 28–July 23, 2017, in the Garden Gallery of the Musée du Quai Branly – Jacques Chirac. Organized in collaboration with the Musée national Picasso–Paris, it explores the complex connections that the artist had with non-Western arts. The exhibition takes two complementary approaches, one historical and the other more conceptual. The fi rst includes the representation of a multitude of documents, catalogs, photographs, letters, and objects that attest to the many contacts between Picasso and “primitive” art that took place throughout his life. The second section, which occupies more of the gallery space, consists of a dialog between Picasso’s works and those of non-European artists. It has three sections: “Archaisms,” “Metamorphoses,” and “That.” Within these, the term “primitive” does not refer to a lower–developed state but rather to access to the most intimate and essential qualities of being human. This concept sheds hitherto unseen light on Picasso’s work.
Tinker tailor: WW1 military collections from German New Guinea
Tinker tailor investigates the collections of five Australian soldiers who were part of the Australian administration in German New Guinea during World War 1. While in New Guinea these soldiers were intrigued by the local culture and acquired a number of New Guinea artefacts that later found their way into the collections of the South Australian Museum. Highlights of these collections will be displayed in the Pacific Cultures Gallery to acknowledge the connection between the Museum’s collections and World War 1 during the Great War’s 100th anniversary.
As has become customary, Galerie Jacques Germain marks the arrival of summer with an exhibition in his Montreal space. This show is a preview of the material that will appear in opus VIII of the Art Ancien de l’Afrique Noire series, the launch of which will be held in Paris in September at this year’s Parcours des Mondes. Sixteen major sculptures are presented to the Canadian public for viewing, as always with the hope that these outstanding and carefully selected works will arouse new interest. To keep the element of surprise alive, we will mention only two of these objects: an elegant Luba axe from the DRC and a mask from the Bondoukou region in Côte d’Ivoire. Possibly Ligbi, Dioula, or Djimini, the exact attribution of the latter remains uncertain, but it is unique for its polychrome red, white, and blue highlights.
8th year - Objects of Art Santa Fe
Opening the evening of August 10 and running August 11–13 across town at the El Museo Cultural de Santa Fe in the Santa Fe Railyard will be Objects of Art Santa Fe, now in its eighth year. This will feature some seventy gallery owners and other traders offering a global melding of the world’s best antiquities and fine art—from ethnographic materials to modernist furniture to contemporary art and fashion. Emphasis is on global art, culture, and creativity through handpicked objects intended to appeal to the sensibilities of modern-day collectors who are not afraid to mix the old and the new. More info on : www.objectsofartsantafe.com
Antique Indian & Ethnographic Art Show
The Whitehawk shows have been a Santa Fe tradition for thirty-nine years now. Recently The Antique Indian Art Show and The Antique Ethnographic Art Show that long were two end-to-end events were merged into what is now The Antique Indian & Ethnographic Art Show, which features more than 100 dealers offering an array of artworks from around the world. Native American art is prominent, as would be expected, but there is also art from the Pre-Columbian Americas, Africa, Indonesia, the Pacific, and Asia as well. Spanish colonial art from the Americas is also a visible element. This year the show will be held August 12–14, 2017, following an opening reception on the evening of August 11, all at the Santa Fe Community Convention Center located downtown just a few blocks from the Plaza.
The Antique Indian Art Show 2017
This event will be held at El Museo Cultural in Santa Fe. It will open the evening of August 15 and run August 16–18. This corresponds to the annual Santa Fe Indian Market (August 19–20), a massive event that is largely focused on contemporary Native American arts and crafts. This show brings a significant element of pre-1950 Native American art into the mix. Santa Fe is the Southwest heartland of American Indian art and culture, and the show follows the city’s centuries-old tradition of trade in Native art. It reaches far beyond the Southwestern pueblos and tribes to represent the cultural and geographical diversity of indigenous peoples throughout the U.S. and Canada. From the Navajo Nation to the Great Plains to the Eastern Woodlands and Northwest Coast, the show’s selection of indigenous artworks is the finest to be found at a show dedicated solely to American Indian art.
The Common Thread: The Warp and Weft of Thinking
The Weltkulturen Museum is presenting an unusual comparative exhibition on textiles. The works in "Der Rote Faden: gedanken Spinnen Muster Bilden" are drawn from the museum’s collection and together illustrate the diversity of the creative techniques used in the Americas, Southeast Asia, Oceania, and Africa. Leading with the understanding that textiles are common to the vast majority of the world’s cultures, the exhibition demonstrates to what extent our languages, belief systems, and myths are rife with references to the fundamental principles of this tradition. Moving beyond a simple aesthetic approach to these varied objects, the show also presents the works of artists and composers who were invited to interpret the symbolism of the works and explore their connection with the contemporary world.
Where the Thunderbird lives: Cultural Resilience on the Northwest Coast of North America
For the first time in its history, the British Museum celebrates the cultural resistance of the native peoples of the Pacific Northwest Coast of the Americas. This exhibition puts special emphasis on the tradition of the Thunderbird, a legendary creature and a symbol of power for many of the region’s cultures. It is linked to the past, present, and future of these peoples, whose cultures are still very much alive. The objects are presented chronologically and according to area of origin. It opens with 2,500-year-old stone tools and ancient weapons. These are followed by historic period art objects that bear witness to the innovative practices and the economic adaptations that these prosperous communities put into place following the arrival of Europeans in the eighteenth century. The peoples of the Northwest Coast have maintained their cultural identity and their way of life in a world that is perpetually changing around them. Their cultures and their artistic patrimonies express powerful values and traditions. One of these was the potlatch, an important prestige event that involved the transfer of wealth, and several of the objects in the installation relate to this tradition. At its end, the exhibition invites the visitor to examine and evaluate his own identity and capacity for cultural resistance in these times of rampant globalization.